天下·天子·天理：論宋代院體畫主題的三個(gè)維度

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Under Heaven， Emperor， and Heavenly Principles： the three dimensions of themes in Song Dynasty court paintings

YU Ying

As a painting genre supported by the royal court， Song Dynasty court paintings revolved around different levels concerning “Under Heaven” ， “Emperor” and “Heavenly Principles”. The landscape paintings formed a hierarchical relationship of “court—landscape”. This reflects the structure of “Under Heaven” where the theme moved from the representation of “the relationship between heaven and humans” to metaphorically allude the allusion to “Under Heaven”. Meanwhile， the themes in the figure paintings metaphorically pointed towards the “Emperor” by delving into relationships across three levels： ruler and subjects， ruler and officials， and ruler and other rulers. Additionally， the themes in the flower.and.bird paintings metaphorically pointed towards the “Heaven” or “Heavenly Principles”， “presenting themselves through ”observing objects through objects” and “observing them through reason”. The three dimensions of themes correspondingly formed an ideological structure of a trinity.

［摘  要］ 宋代院體畫作為皇家扶持的繪畫類型，其主題圍繞“天下”“天子”和“天理”形成不同的維度；宋代院體山水畫形成“山水-廟堂”的天下結(jié)構(gòu)關(guān)系，其主題從“天人關(guān)系”的表象隱喻地指向“天下”；宋代院體人物畫主題隱喻地指向“天子”，這一主題指向從“君與民”“君與臣”“君與君”三個(gè)層面展開(kāi)；宋代院體花鳥(niǎo)畫主題隱喻地指向“天”或“天理”，通過(guò)“以物觀物”和“觀之以理”的方式呈現(xiàn)。（剩余21870字）