元代建筑图像及其题画书写研究 = A study of architecture images and inscriptions in the Yuan dynasty

• Main Author: Guo Yi
• Other Authors: I Lo-fen
• Format: Thesis-Master by Research
• Language: Chinese
• Published: Nanyang Technological University 2023
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/164394
• Institution: Nanyang Technological University

处于“醇和时期”（约1000-1400）末期的元代，其建筑样貌已有诸多新变：非汉民族元素的融入、地方性的游离与部分构件的演变均使元代自呈其特异的建筑语言。自宋兴起的题画文学创作在元代蔚为大观，屋木画的绘制与题咏、对单座建筑或建筑群的诗文抒情亦是这一时期的艺文现象。本文将以《全元诗》、《全元文》为中心，利用文图学理论与方法，探讨建筑在元代图像叙述中的“转译”过程、建筑在诗文创作中的面向以及建筑在诸多互文关系中扮演的角色。第一章揭示元代三种建筑图像与题跋之发展情况，探讨文、图、建筑之间的互文与再生。第二章以“故国宫殿”为专题，从图像与题跋两个角度观照元代文士的宫殿绘画创作，以及因之而兴的“伤古之思”；第三章总结文人游居的建筑类型，探讨人物与建筑的符号关联，并从“个体”与“集体”两个方面重构元代文人的建筑世界；第四章以“仙境”与“人间”的互文为问题导向，以“仙山+楼阁”、“山水+楼阁”为语汇的图像创作为例，探究“楼阁”的建筑文化内涵；第五章考察图像中的佛寺与道观，结合宗教语境比观两种建筑类型的差异，讨论“山水”在建构此种宗教胜景中的作用。 At the end of the “The Period of Elegance” (c. 1000-1400), the architecture of the Yuan dynasty was characterised by many new changes: the incorporation of non-Han elements, the departure from localism and the evolution of some of its components all contributed to its own distinctive architectural language. The literary production of paintings and inscriptions, which had emerged from the Song dynasty, was a major phenomenon in the Yuan dynasty, as were the paintings and inscriptions of wooden houses and the poetic expression of individual buildings or building complex. This study will focus on the Quan Yuan Poems and the Quan Yuan Wen, using theories and methods of Text and Image Studies to explore the process of 'transliteration' of architecture in Yuan dynasty pictorial narratives, the orientation of architecture in the creation of poetry and literature, and the role that architecture played in these intertextual connections. The first chapter reveals the three architectural features of the Yuan Dynasty, argues the relationship between images and texts, and thus explores the interaction and interplay between literature, images and architecture. Chapter 2 takes "The Palace Architecture" as the topic, and looks at the creation of palace paintings by Yuan Dynasty scribes from two perspectives: images and inscriptions, as well as the "thoughts of the past" that emerged from them. Chapter 3 summarizes the types of architecture in which the literati lived, discusses the symbolic connection between characters and architecture, and reconstructs the architectural world of the Yuan literati in terms of "individual" and "collective". Chapter 4 takes the intertextuality of "fairyland" and "earth" as the guide to the problem, and takes the creation of images with "fairy mountain + pavilion" and "landscape + pavilion" as examples to explore the architectural and cultural connotations of "pavilion". Chapter 5 examines Buddhist temples and Taoist temples in the images, and discusses the role of "landscape" in the construction of such religious scenes, taking into account the differences between the two types of architecture in the religious context.