《孝经》 - 美国大都会艺术博物馆展品查阅

品名（中）	《孝经》
品名（英）	The Classic of Filial Piety
入馆年号	1996年，1996.479a–c
策展部门	亚洲艺术（Asian Art）
创作者	Li Gonglin【1041 至 1106】【中国人】
创作年份	公元 1075 - 公元 1095
创作地区
分类	绘画（Paintings）
尺寸	整体 (a, painting): 8 5/8 x 187 1/4 英寸 (21.9 x 475.6 厘米) 整体 (b, colophons): 10 3/8 x 208 5/8 英寸 (26.4 x 529.9 厘米) 整体 (c, modern copy preserving seventeenth century silk restorations): 9 1/8 x 196 英寸 (23.2 x 497.8 厘米)
介绍（中）	宋代文人艺术家认为，绘画不仅是感官体验的记录，也是艺术家思想的反映，是对其个性的揭示，是对根深蒂固的价值观的表达。在实现这一理想的过程中，李公麟从根本上改变了中国艺术。在李公麟时代之前，绘画具有公共功能：它主要是装饰性的或说教性的。与李开复一起，绘画与音乐、诗歌和书法一起成为一种自我表达的媒介。李的革命性新风格确立了文人画的三个基本要求：道德目的、对过去的借鉴和富有表现力的书法创作于公元前350年至200年的《孝经》教导了一个简单但包罗万象的教训：从家庭开始，孝道不仅能确保一个人的生活成功，还能给整个世界带来和平与和谐。在宋代，该文本成为新儒家经典的十三部经典之一，并一直是中国传统道德教育的基石，直到现代李的画作刻意克制，没有色彩的装饰吸引力，与他对《经典》中简短章节的转录交替出现。图像不仅仅是说明文本；李用他的艺术来批评、规劝和颠覆，对《经典》与歌坛的道德相关性进行了微妙的评论。与画作一样，这幅书法采用了一种古老的风格，鉴赏家一眼就能认出这是一种对回归简单美德和朴素正直的复杂恳求。
介绍（英）	Song scholar-artists believed that painting was not just a record of sensory experience but also a reflection of the artist's mind, a revelation of his personality, and an expression of deeply held values. In giving form to this ideal, Li Gonglin fundamentally transformed Chinese art. Prior to Li's time, painting served a public function: it was primarily decorative or didactic in intent. With Li, painting joined music, poetry, and calligraphy as a medium of self-expression. Li's revolutionary new style established the three essential desiderata of scholar-painting: moral purpose, learned stylistic references to the past, and expressive calligraphic brushwork. The Classic of Filial Piety, composed between 350 and 200 B.C., teaches a simple but all-embracing lesson: beginning humbly at home, filial piety not only ensures success in a man's life but also brings peace and harmony to the world at large. During the Song dynasty, the text became one of the thirteen classics of the Neo-Confucian canon and remained a cornerstone of traditional Chinese moral teaching until modern times. Purposefully restrained and without the decorative appeal of color, Li's paintings alternate with his transcriptions of brief chapters from the Classic. The images do more than illustrate the text; using his art to criticize, exhort, and subvert, Li presents subtle commentaries on the Classic's moral relevance to the Song world. Like the paintings, the calligraphy is executed in an archaic style instantly recognizable to the connoisseur as a sophisticated plea for a return to simple virtues and plain-living rectitude.