从人形图符到“四体妍媸”

【作者】 胡绍宗；

【导师】 程征；

【作者基本信息】 西安美术学院 ， 美术学， 2010， 博士

【摘要】 中国早期人物制像是一个涉及多种媒材、多种功能、多种技术的视觉文化现象,是当时人们表达生命感受和思想观念的重要方式。出土的材料显示,从史前到夏、商、周的这个长时段内,虽然不存在前后连贯、材料统一的人物图像类型,但是,无论平面上还是器表上的人物图像的视觉特征都体现了在二维方式上的同一性,暗含了一条时隐时现、不可逆转的风格演变线索。本课题以人物图像的文化属性和功能背景为切入点,围绕单体人物形象及其图像结构的演变过程,综合运用艺术考古学、历史学、图像学等多学科的研究方法,借助二十世纪以来中国早期人物图像的考古发现,对出现在不同材质上的人物图像的演变过程作深入探讨。在此基础上提出中国早期平面图像中单体人物形象大致经历了——从人形图符的表现开始,到特定象征姿势的表现,再到具有叙事意义的动态表现的演变过程。三阶段彼此衔接,前后相叠。与此相伴,早期人物图像的平面结构和视觉程序是从人的生理秩序出发,经由平面上视觉秩序的建立,再到平面上文化秩序建立的转换,逐层推进,完成了从一般生活叙事,向宗教礼仪叙事,再到宇宙、社会、人生情态的综合叙事的过程。因此,在这一过程中所形成的视觉平面是一个历史与文化的“沉潜物”,它有着明确的视觉层位关系,包含了丰富的社会历史信息。正因为这种文化背景的整体性所指涉的制像模式和视觉习惯,为我们今天在不同材质中解读平面人物图像提供了内在的逻辑和学理基础。更多还原

【Abstract】 The two-dimensional figurative image of China’s early period is a visual cultural phenomenon involving multiple media, various image functions, and many image-making techniques. It is a pivotal means for the ancient people to demonstrate their feelings concerning life and ideas and thoughts. This project takes the cultural features and functional backgrounds of two-dimensional figurative images as the starting point, focuses on the singular figurative images and their structural characteristics, comprehensively applying research methods from art archaeology, history, philology, formal analysis, and iconology; illuminated by the archeological discoveries since 20th century, pondering figurative images appeared on various materials. Based on this research, this dissertation proposes to categorize singular figurative images of China’s early period into three stages: the emergence of humanoid signs, the expression of specific symbolic gesture, and the dynamic expression with meaningful narratives. The planar structures and programs of early figurative images began with the physiological orders, with the establishment of planar visual order, it had transformed into a planar cultural order. Therefore, the visual plane in early Chinese art is the“construct”of history and culture, with a clear visual hierarchical relations, transmitting abundant social and historical information. Such image-making modes and visual routines inferred from this integral cultural background, provides us today with a internal logic for deciphering images of different materials, and the theoretical basis for this project as well.更多还原