林錦慧 袁曉文 梁泳茵



摘要:嶺南插花源于嶺南人愛花惜花的花事生活傳統(tǒng),深植于嶺南日常生活情境之中。用情境概念,以王紹增先生境學(xué)的理論框架為依托,對(duì)清代嶺南地區(qū)外銷畫與文人繪畫等圖像中的嶺南插花情境特征展開研究。清代圖像中的嶺南插花常出現(xiàn)于居室生活、寺院供設(shè)、娛樂場(chǎng)所、市井生活、園林雅集5類生活情境。清代嶺南插花具有世俗化、兼容性和務(wù)實(shí)性的嶺南地域文化特色,體現(xiàn)出兼采中西、注重形式、調(diào)動(dòng)感官、講究時(shí)令、講求高雅等特征。嶺南插花情境是由空間、時(shí)間、感覺、感情、文化5個(gè)維度相互交融、有機(jī)結(jié)合而構(gòu)建的。
關(guān)鍵詞:嶺南插花;清代;圖像;情境;特征
中圖分類號(hào):TU986
文獻(xiàn)標(biāo)志碼:A
文章編號(hào):1671-2641(2023)01-0012-05
收稿日期:2022-12-06
修回日期:2023-02-05
Abstract:Lingnan flower arrangement originates from Lingnan people's floral life tradition of loving flowers and cherishing flowers. It is deeply rooted in Lingnan people's daily life. Based on the concept of situation and the theoretical framework of Wang Shaozeng's environment science, this paper studies the situation characteristics of Lingnan flower arrangement in the images of Lingnan export paintings and literati paintings in the Qing Dynasty. The Lingnan flower arrangement in the images often appeared in five kinds of life situations: living room, temple, entertainment, market life and garden. The Lingnan flower arrangement in the Qing Dynasty has the characteristics of secularization, compatibility and practicality, reflecting the characteristics of combining Chinese and Western culture, mobilizing the senses, emphasizing the form, season and elegance and so on. And Lingnan flower arrangement situation is constructed by the integration of five dimensions: space, time, feeling, emotion and culture.
Key words:Lingnan flower arrangement; The Qing Dynasty; Images; Situation; Characteristic
嶺南插花是嶺南花事生活傳統(tǒng)的重要體現(xiàn),在嶺南地區(qū)長(zhǎng)期的生產(chǎn)、生活及外來文化的影響下,形成了獨(dú)特的風(fēng)格特征。清代嶺南地區(qū)花卉種植商品化和市民生活水平提升,也促進(jìn)了嶺南插花藝術(shù)的發(fā)展。在清代嶺南外銷畫、文人繪畫和清末攝影作品所描繪的富商家居和市井生活圖景中,插花隨處可見:居室擺瓶花,寺院祭祀供鮮花,每逢佳節(jié),儀仗抬花籃,游人乘花艇,處處掛花燈。插花與嶺南人的日常生活情境密不可分。而目前關(guān)于嶺南插花研究大多集中在對(duì)插花風(fēng)格特征與技法等方面的探討,鮮少將插花置于嶺南花事生活情境的視野中進(jìn)行研究。
“情境”一詞在東方語境中脫胎于“境”的概念,是中國(guó)古典藝術(shù)創(chuàng)作的本質(zhì)追求,廣泛運(yùn)用于中國(guó)傳統(tǒng)詩歌、詞作、文學(xué)、繪畫、園林等藝術(shù)門類。……