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Lyricism, the Polite and the Popular, Consumption: an Investigation on the Artistic Expression of Tang Yin’S Literary Works/Paintings and the History of Reception
|Keywords: ||唐寅;文學;繪畫;抒情;雅俗;消費;題畫詩;接受史;明四大家 |
Tang Yin;literature;painting;lyricism;the polite and the popular;consumption;poems inscribed on paintings;history of reception;four great masters of the Ming Dynasty
|Issue Date: ||2019-09-27 16:28:00 (UTC+8)|
|Abstract: ||本計畫擬結合唐寅個人獨特的性格與生命史，及明中葉城市文化興起及學術思想與美學思潮變革等時代背景,系統深入剖析唐寅深刻而複雜的生命歷程與思想觀念如何展演在文學∕繪畫的文本空間中,并結合當時文壇與畫壇的風氣與互動,探討唐寅各式文學與各類畫題創作相應於自我的內在心理情感及外在的社會文化動因所開展出的豐富的主題內蘊和獨特的藝術風格,並嘗試重新定位唐寅文學∕繪畫在明代文學史/繪畫史上之地位，及與唐宋派、復古思潮與心學主張的連動關係，以及在不同時代文化脈絡下,與性靈詩派、情教美學、寫意畫風等之關係，乃至於不同的選本、刊本、方志及小說、戲曲、影視美學的接受史。 雅俗移位與越界涉及社會時空的多重變量，社會時空的變化與重組，是社會推進或改變的基本動能。無論是由雅入俗或出入雅俗之間，牽涉極為複雜的雅俗越界、雅俗移位的社會動力學及雅俗融攝、區辨、轉化等不同權力的角力、美學修辭策略的調整。雅／俗的文化辯證，本涉及他群／我群之同／異、內化／抗逆的認同機制，社群意識與身分認同更是一個社會的、歷史的、文化的總體建構歷程，有其複雜而流動的文化軌跡。因而，本計畫尤關注於唐寅以一位兼融文人與職業畫家身分，面向於傳統文人抒情美學與新興的城市文化風尚，在文學／繪畫文本空間中的表意實踐與文化敘事，如何回應於自我／他者、我群／他群、雅／俗不斷疊滲、混融的交互建構歷程，而有一套殊異的表意修辭策略與意義生產機制，進而在多重他性的文學藝術空間中進行新的文化再造，以回應於文化傳統及新興的擁有資本的世俗大眾；在自我／社會的交往性境遇中，又如何建構一種新的美學主體性，開顯出新的抒情美典，在與傳統美學有所錯位、轉置的藝術新結構中，兼能回應於社會公共現實、文化傳統及個人抒情主體，進而形塑、奠定抒情自我獨特的美學風格。 再者，文學∕繪畫文本的文化生產與再生產脈絡，因著不同的接受與反應機制，使文本意義往往在定性與變形的中間地帶反覆游移：一個文本的再造，總是對原文本指稱意義進行再一次的指認與詮釋，但文本意義域的生成、建構與開顯，實質又具有高度的能動性與自主性，因此，本計畫也關注於文本衍生與領受的系譜，所本然呈現的複合、孳乳、變衍的流動過程中，不同世代間對唐寅文學∕繪畫書寫反覆模擬與刮除重寫的行動，所共譜出繁茂多姿的面貌與變動不居的接受史歷程。 |
This project aims to explore the relationship between the profound life experience and thoughts of Tang Yin and his literary works and paintings in terms of the emerging urban culture and the changes on intellectual and aesthetic thoughts in the mid-Ming period. By depicting and delving into the contemporary literary and artistic society, this research further investigates how Tang Yin’s literary and artistic creation reacted to his psychological, emotional inner journey and the social, cultural and historical changes. In doing so, this research intends to re-evaluate the historical position of Tang Yin in the literary and artistic development in Ming dynasty. It probes into the relationship between Tang Yin’s creation and Tang-Song School, the revival of classical thoughts, and the theories of Lu-Wang School of Mind on one hand, the interrelation between his works and the school of spiritual poetry, the cult of emotion, and the freehand style of Chinese landscape on the other. It also examines the reception of his work in various anthologies, editions, local chronicles, novels, dramas as well as theatrical adaptations. The shifts and transgression between the polite and the popular is involved with diverse social, cultural and historical changes and reconstruction which serve as a great impetus for social development and improvement. The interpenetration, transgression and even merging of the polite and the popular is always a complicated process which implicates the constant wrestle and negotiation of various forces and rhetorical strategies in discursive practice. The cultural dialectical relation of the polite and the popular represents the dynamics in establishing an identity of self against the others and a sense of community. As an epitome, Tang Yin’s life and work illustrate the complex process of the formation of a collective social, cultural and historical intellectual identity. In this context, this research plan focuses particularly on how Tang Yin, being a scholar and a professional painter, demonstrated his responses to the Chinese lyrical tradition and the newly emerged urban culture in his artistic and literary creation on one hand, addressed the issue of self-identity in the dynamics between self and the others as well as the polite and the popular in his work on the other. By employing specific rhetorical strategies and symbolism, Tang yin regenerated the cultural legacy and created a new aesthetic subjectivity addressed to not only the demands of both the traditional culture and the wealthy new rich, but also the changing society, the culture, the tradition and growing individualism. By doing so, Tang Yin established his unique aesthetic style and acquired an important role in the Chinese literary and artistic history. Also, as the contexts for cultural production and reproduction of literary and pictorial texts were embedded with various modes of reception, the implications of texts thus varied: the re-production of text refers to the interpretation and re-creation of text in generating meanings, which is a highly dynamic and autonomous process. Therefore, this research also investigates the reception and re-production of Tang Yin’s literary and pictorial text in different generations.
|Data Type: ||report|
|Appears in Collections:||[中國文學系] 研究報告|
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