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身为诗人和画家的柳隐(1618—1664),亦以柳是、柳如是、河东夫人而知名。近年来由于她的一幅山水卷轴(年代确定为1643年,原藏天津博物馆,现藏北京故宫博物院)的出版,又因人们对一幅藏于福格博物馆,传为柳隐肖像画的作品所产生的浓厚兴趣,柳隐的艺术业已引起了研究中国画的学者的注意。1978年11月,我在博物馆作了题为《真实的河东夫人》的讲演,在此次及我在别处所作的几次讲演中,我提出有充分的理由认为:博物馆的这幅藏品不可能如其题跋有意让我们相信的那样是一位名叫吴焯的画家作于1643年的柳隐肖像。事实上,它根本不是一幅肖像画,但无疑是康熙年间对一位理想化的、非特定的美貌妇人所作的再现,它带有明显的性爱诱惑,远甚于其它任何一幅17世纪的中国女性的真实肖像,只有青楼出身的女子可能会有这种韵味。我在讲演中的
Liu Yin (1618-1664), a poet and painter, is also famous for his willows, Liu Rushi and his wife, Hedong. In recent years, due to the publication of one of her landscape reels (dating back to 1643, originally housed in the Tianjin Museum and now housed in the Palace Museum in Beijing), her work on a portrayal of Liu Yin’s portraits hidden in the Fogh Museum The great interest that Liu Yin’s art has drawn has drawn the attention of scholars studying Chinese painting. In November 1978, I gave a lecture at the museum titled “True Mrs. Hedong.” In several speeches I made elsewhere and elsewhere, I have given sufficient reason to believe that this collection of museums is impossible Like its inscription intentionally let us believe that is a painter named Wu Zhuo made in 1643 Portrait of Liu Yin. In fact, it is not a portrait at all, but undoubtedly a reappearance of an idealized, unspecified beauty woman during the reign of Emperor Kangxi, with obvious sexual temptations, far more than any other 17th-century The real portrait of Chinese women, only the brothel woman may have this flavor. I’m in a speech