《天人之际》内容简介

　　“究天人之际，通古今之变、成一家之言”，这是做历史学者一个至高无上的理想。巫鸿教授在他的新著《天人之际：考古美术视野中的山水》中，试图为中国艺术中最具特色的山水画传统找到其最初的起源与发展脉络。西方也有自然山水，但他们叫风景，不同国家和民族有着自己对于自然世界的理解，中国的山水传统究竟是什么？最初是被如何表现的？当表现中国人对于自然理解的山水图像出现后，这些图像又如何进而发展成为一个持续演进的系统？山水在中国从来不限于真实的山和水，而是有很强的哲学、精神、宇宙观的意义，它往往是连接天地、沟通神人、涵括不同万物的媒介。所以，这本书在面上是想要把山水艺术产生和早期发展状况根据考古资料整理一下，骨子里则是希望往深处挖掘中国山水艺术传统的根源，是巫鸿教授一部颇具雄心的作品。

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　　“山水”是中国文化中的一个植根极深、范围极广、极具特色的范畴，在文学、艺术、哲学、宗教、地理、建筑等多个领域都处于相当核心的位置。尤其宋元以来的山水画，被公认为真正的艺术典范，代表了中国人对自然的理解与表达。但是，随着考古工作在中国的长足发展，更多有关早期山水艺术的实例呈现在人们面前，器物纹饰、石刻壁画图像等等，都被纳入学者的研究视野。

　　巫鸿教授在三联书店出版的新书《天人之际：考古美术视野中的山水》，聚焦以视觉形式表现的“山水”，以年代为序，藉由考古新发现，重新思索中国山水画的起源和早期发展，勾勒“山水”作为一个艺术传统从无到有的形成过程。

　　作者简介

　　巫鸿1987年哈佛大学毕业后留校任教，1994年获终身教授职位，同年受聘主持芝加哥大学亚洲艺术教学，执“斯德本特殊贡献教授”讲席。2002年建立东亚艺术研究中心并任主任，兼任该校斯马特美术馆顾问策展人。2008年被遴选为美国国家文理学院终身院士，并获美国大学艺术学会美术史教学特殊贡献奖，2016年获选为英国牛津大学斯雷特讲座教授，2018年获选为美国大学艺术学会杰出学者，2019年获选为美国国家美术馆梅隆讲座学者和哈佛大学荣誉艺术博士，并于2022年获美国大学艺术学会艺术写作杰出终身成就奖。

　　其著作包括对中国古代、现代艺术以及美术史理论和方法的多项研究，古代美术史方面的代表作有《武梁祠：中国古代画像艺术的思想性》（1989）、《中国古代艺术与建筑中的“纪念碑性”》（1995）、《重屏：中国绘画中的媒材与再现》（1996）、《黄泉下的美术：宏观中国古代墓葬》（2010）、《废墟的故事：中国美术和视觉文化中的“在场”与“缺席”》（2012）、《“空间”的美术史》（2018）、《中国绘画中的“女性空间”》（2019）、《空间的敦煌》（2022）等。

"The Occasion of Heaven and Man" content introduction

"When studying heaven and man, through the ancient and modern changes, into a family of words", this is a supreme ideal to do history scholars. In his new book The Time of Heaven and Man: Landscape from the Perspective of Archaeological Art, Professor Wu Hong tries to find the original origin and development of the most distinctive tradition of landscape painting in Chinese art. The West also has natural mountains and rivers, but they are called landscapes. Different countries and nations have their own understanding of the natural world. What is the Chinese tradition of mountains and rivers? How was it originally represented? After the appearance of landscape images that represent the Chinese understanding of nature, how did these images develop into a continuously evolving system? In China, landscape is never limited to real mountains and water, but has strong philosophical, spiritual and cosmological significance. It is often a medium that connects heaven and earth, communicates God and man, and includes different things. Therefore, this book is an ambitious work of Professor Wu Hong, which aims to sort out the emergence and early development of landscape art according to archaeological data, and at heart hopes to dig deeper into the roots of the Chinese landscape art tradition.

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"Landscape" is a deeply rooted, wide and distinctive category in Chinese culture. It is at the core of literature, art, philosophy, religion, geography, architecture and many other fields. Especially since the Song and Yuan Dynasties, landscape painting is recognized as a true art model, representing the Chinese people's understanding and expression of nature. However, with the rapid development of archaeological work in China, more examples of early landscape art have appeared in front of people, and the decoration of artifacts, stone fresco images, etc., have been included in the research field of scholars.

Professor Wu Hong's new book "Landscape in the Time of Heaven and Man: Landscape from the Perspective of Archaeological Art", published in Sanlian Bookstore, focuses on the visual expression of "landscape" in the chronological order, through the new archaeological discoveries, rethinking the origin and early development of Chinese landscape painting, outlining the formation process of "landscape" as an artistic tradition from scratch.

About the author

After graduating from Harvard University in 1987, Wu Hong stayed to teach there and was awarded a tenured professorship in 1994. In the same year, he was appointed to chair the Asian art teaching at the University of Chicago and held the "Steburne Special Contribution Professor" lecture. In 2002, he established the East Asian Art Research Center and served as the director and consultant curator of the Smart Art Museum of the university. In 2008, he was selected as a lifetime fellow of the National College of Arts and Sciences, and awarded the Special Contribution Award to the teaching of Art History by the American University Art Society, in 2016 he was elected as the Slater Chair Professor of the University of Oxford, in 2018 he was elected as the Distinguished Scholar of the American University Art Society, in 2019 he was elected as the Mellon Chair Scholar of the National Gallery of Art and the Honorary Doctor of Fine Arts of Harvard University. In 2022, he received the American University Arts Society's Outstanding Lifetime Achievement Award in Art Writing.

His works include a number of studies on ancient and modern Chinese art as well as theories and methods of art history. His representative works in the history of ancient art include Wuliang Temple: The Ideological Nature of Ancient Chinese Portrait Art (1989), Monumentality in Ancient Chinese Art and Architecture (1995), and Double Screen: Media and Representation in Chinese Painting (1996), Art Under the Yellow Spring: A Macro View of Ancient Chinese Tombs (2010), Stories of Ruins: "Presence" and "Absence" in Chinese Art and Visual Culture (2012), "The Art History of" Space "(2018)," Female Space "in Chinese Painting (2019), and" Spatial Dunhuang "(2022).