规划问道
夏南悉（Nancy Steinhardt） 宾夕法尼亚大学东亚艺术与建筑史教授：
Architecture has been a subject of Chinese painting for two millennia, but has remained elusive. Painting Architecture explains the reasons as well as why the thirteenth and fourteenth centuries are pivotal. The book also translates the vast writings on architectural painting, places the paintings in historical context, and assesses the relation between the paintings and actual buildings. The superior scholarship and original interpretation ensure that paintings of architecture will be part of future discourse about Chinese painting.
白谦慎（Qianshen Bai） 波士顿大学和浙江大学中国艺术史教授：
Focusing on the development of jiehua in the fourteenth century when the Mongols ruled China, Yu’s book raises issues beyond the field of painting history, including architectural history, aesthetics, and social-historical studies. It is a long-awaited contribution to a rarely studied painting genre and an admirable accomplishment of multidisciplinary research on Chinese art.
专家推荐
In Painting Architecture: Jiehua in Yuan China, 1271–1368, Leqi Yu has conducted comprehensive research on jiehua or ruled-line painting, a unique painting genre in fourteenth-century China. This genre relies on tools such as rulers to represent architectural details and structures. Such technical consideration and mechanical perfection linked this painting category with the builder’s art, which led to Chinese elites’ belittlement and won Mongol patrons’ admiration. Yu suggests that painters in the Yuan dynasty made new efforts towards a unique modular system and an unsurpassable plain-drawing tradition. She argues that these two strategies made architectural paintings in the Yuan dynasty entirely different from their predecessors, as well as making the art form extremely difficult for subsequent painters to imitate.
界画是我国传统绘画中重要而独特的一个门类，题材多为屋木舟车，创作多用界尺引线。它可上溯至先秦青铜器装饰及汉代墓葬壁画，大约在五代两宋时发展为独立画种并达到巅峰，随后逐渐式微于元明文人画遮蔽之下，最终成为十三画科中的打底门类。然而值得注意的是，元代界画发展出独特的模件化系统和繁密炫目的白描风格，将技艺细节做到了极致，不应受到学界轻视。
该英文著作Painting Architecture: Jiehua in Yuan China, 1271–1368（2022）是国际上首部元代界画研究专著，以夏永、王振鹏等界画名家为切口，从江南民间和北方宫廷两方面展开历史考量，重点关注以下议题：建筑实物转变为界画图像的方式；元代界画的技术革新；建筑图像与题画诗赋的媒介竞争；画师身份地位、蒙元政治观念、江南文人审美、画坊体制、区域市场等社会因素在元代界画传统中的介入。简而言之，该专著详细考述元代界画创作、传播、接受的复杂路径和独特变化，全面展示其历史文化价值与精神内涵，旨在填补中国美术史在界画研究方面的薄弱之处。
内容
简介
（元）夏永《岳阳楼图》 1347 水墨绢本纨扇册页 25.2×25.8cm 北京故宫博物院藏
（元）夏永《滕王阁图》 水墨绢本册页 24.7×24.7cm 美国波士顿美术馆藏
俞乐琦，现为中国人民大学艺术学院师资博士后，主攻宋元明视觉艺术与物质文化研究、海外中国美术鉴藏史、跨文化艺术史。2012年本科毕业于北京大学哲学系，2014年硕士毕业于美国威廉姆斯学院艺术史系，2019年博士毕业于宾夕法尼亚大学东亚系中国艺术史项目，随后获史密森尼学会艺术史博士后全额奖学金，任职于美国国立亚洲美术馆（佛利尔美术馆）。
在本书撰写过程中，先后受美国学术团体协会（ACLS）与亨利·鲁斯基金会、盖蒂基金会、美国宋辽金元研究协会、中国博士后科学基金等机构资助，参访国内外众多文博机构，全面搜集宋元明界画资料。本书部分内容曾发表于美国亚洲研究协会（AAS）和美国高校艺术协会（CAA）等国际会议。另外，在Arts Asiatiques等国内外核心期刊多次发表艺术史学术论文。
作者
介绍
（元）夏永《丰乐楼图》 水墨绢本册页 25.8×25.8cm 北京故宫博物院藏
（元）夏永《映水楼台图》 水墨绢本纨扇册页 23.9×25.3cm 北京故宫博物院藏
List of Illustrations
Acknowledgments
Introduction
The Concept of Jiehua
Why the Mongol Yuan?
Xia Yong: A Neglected Jiehua Master
1. Painting and Architecture
Dilemma: The Yellow Crane Tower or the Yellow Pavilion?
Modularity in Xia Yong’s Art
Utility and Artistry
2. Painting and Painter
Wang Zhenpeng and His Lineage
Baimiao: The Power of Ink and Line
Landscape in Jiehua: Late-Yuan Literati Style versus Northern Song Li-Guo Style
3. Painting and Politics
Direct Appointments: Based on Emperors’ Interest in Complex Constructions
Elegant Gatherings: The Interactions between Southern Scholars and Northern Officials
Conclusion
The Professional Atelier: An Alternative Interpretation of Xia Yong’s Jiehua
The Art Market: The Cultural Values of Buildings Painted
Notes
Bibliography
Index
新书
目录
（元）（传）王振鹏《宝津竞渡图卷》 水墨绢本手卷 36.6×183.4cm 台北故宫博物院藏
（元）唐棣《滕王阁图》 1352 水墨纸本手卷 27.5×84.5cm 美国纽约大都会美术馆藏
图绘建筑
元代界画（1271-1368）
Leqi Yu. Painting Architecture: Jiehua in Yuan China, 1271–1368
Hong Kong University Press / 2022.6
ISBN 9789888754236 / HK$ 700.00
Art & Heritage
美术遗产
中央美术学院人文学院
暨非物质文化遗产研究中心
原文始发于微信公众号（美术遗产）：图书资讯丨图绘建筑：元代界画（1271-1368）（英文）
