遺民的生命圖像與文化鄉愁－錢選詩／畫互文修辭的時空結構與對話主題

Abstract

Qian Xuan is one of the most famous and important painters in the end of Sung dynasty. Undoubtedly the loyalist (yi-ming) usually stayed in the cultural frame of dislocated space-time. When they stood in front of the historical ruins, their minds were occupied with drifting and diaspora life experiences, Qian Xuan often developed the dialectical themes which covered the past/current dynasty, reality/ideal, present/history in the dialogue of poem/painting intertext rhetoric. His works reflected the loyalist's memories which re-create a unique space for themselves to articulate the traditions in the changing present world. This paper sets out to explore Qian Xuan's poem/painting collection in terms of three aspects: ”immortal hide/idly occupied being”, ”nostalgia/memory”, and ”cross waiting/grieves for the loss”. It also attempts to analyze the empty emotions of loyalist's life being and the historical feelings of revivalism in the poem/painting intertext rhetoric. Through the metonymy of poem/painting intertext rhetoric, Qian Xuan also developed a new cultural imagination; and further, he built himself as a desire-subject to perform culture structure in the creating work of fine art. Therefore, the poem/painting intertext rhetoric not only demonstrated the loyalist's constant cultural nostalgia as the desire-subject, it also reflected the cultural-identity actions transcending the reality of society and the deep sadness of loyalist due to their marginal status and life's inconstancy. Finally, this paper discusses Qian Xuan's outstanding handwritings while in his painting he used mostly wild and individual technique with the open space-time vision. Those works release nostalgia emotions in a neoclassic style. Qian Xuan's unique aesthetic style, such as ”anti-image”, ”anti-drawing”, have made the shift of aesthetic paradigm of Chinese paintings. This also results in his unique position in the history of Chinese paintings.