【作者】 张洁；

【导师】 曹建国；

【作者基本信息】 武汉大学 ， 古代文学， 2019， 博士

【摘要】 关于绘画的叙事功能,张彦远《叙画之源流》这样论述:“纪传,所以叙其事,不能载其容;赋颂,有以咏其美,不能备其象。图画之制,所以兼之也。”汉代画像石依礼教而寓象征,以直观可感的视觉符号隐喻着“事死如生,事亡如存”的文化内涵,是大汉王朝恢弘磅礴之人文精神的缩影。近年来,西方人文社科领域的“图像转向”思潮重新激发了汉画研究者对潘诺夫斯基图像学的兴趣,人们愈发关注图像本身“可见的思想”,如此,空间维度的汉画图像叙事研究便进入学者视野。不同于文本叙事的线性表达,汉画是一种在时间和空间上浓缩的艺术,是“以画面构图的形式为载体并能够被视觉所感知的叙述形式”。它通过线条、色彩、立体造像等手段将原本停留在抽象知觉层面的、为人熟知的传世经典片段视觉化,并参照宇宙图式将不同主题的图像进行组织布局,重构了一个意义流动的、如网状编织物一般复杂的场域,并在这个动态场域中展开了一场关于宇宙和人的终极对话。纵观400年间的汉代文明,深藏于地、岿然而立的画像石墓无一不是以广阔的时空架构为背景,讲述着同一个关于生命转化的宏大课题。本文以山东、河南、陕西、江苏、山西、安徽、四川等地共计6500余幅汉画像石为研究对象,以图文对比为基础,以各地区具有代表性的画像史料为个案,在延续图像学自身理论特征、理论模式的同时,与叙事学、语言学、符号学、修辞学等研究方法相关联,分别揭示单元图像叙事的基本学理、复合图像叙事的并置特征以及墓葬整体叙述的空间筑构,从而形成由点到线,由线到面的研究框架,并尝试在历史与逻辑的交汇点上将经验描述上升到理论层面。全文共有七部分。绪论部分主要论述本文课题的国内外研究现状、研究方法、研究价值及创新点。第一章重点阐释汉代厚葬盛行的文化背景,以封建伦理为本体的思想体系和以“灵魂不灭”为逻辑前提的形而上学的生死观是两汉时期“埋葬僭侈”的根本原因。第二章从葬制的角度出发,对商周以来陵寝、宗庙制度的发展演变做历时性梳理,分析汉画像石墓滥觞于西汉、极盛于东汉的外部原因。“墓庙合一”的政策推动辅之以不断升级的社会生产力,最终致使仿制居室而起的地下墓室不断扩大。这一过程中,汉画像石亦从平面装饰演化为具有叙述性特征的空间艺术,多样的主题最终在地下世界筑构了一个包揽天界、仙境、幸福家园三重界域的微型宇宙。第三章从“语—图”互文关系的视角阐述早期中国艺术实践中图与文的“动态关系”,即图像对文本的模仿,例如汉画像石中大量刻绘的历史故事之文学母题;以及文本对图像的描摹,例如《张公神碑歌》、《鲁灵光殿赋》等图像描述性文学的创作实践,通过“语词叙述”和“图像叙述”的比较说明汉画绝不限于辅助文字文献或“图说历史”,“而是蕴涵着某种有意识的选择、设计和构想,隐藏了历史、价值和观念。”汉画像石是一种典型的空间艺术,其图像叙事的本质属性是“空间叙事”。若对这一空间进行解剖,依照叙事层次可将汉画分为三种类型,即单元图像叙述、复合图像叙述以及整体空间叙述。在接下来的三章中,笔者将针对不同图像类型,各举数例,分别从汉画图像的叙事形态、叙事模式等角度着手,尝试解读特定文化背景下汉画图像叙事的发生机制。第四章以汉画“完璧归赵”为个案,探讨单元图像叙事的基本学理。从目前已整理的汉画来看,许多以历史故事为题材的汉画,“绝大多数都已有文本语言的现成品”。以“完璧归赵”图为例,通过对图像与文本两种不同叙述形态的比较分析,能够发现汉画以其独特的构图方式,即对文本情节中“最富孕育性顷刻”的定格给观者带来了“兴会神到”的视觉感受。与此同时,图像构图又不完全拘泥于格套,个中细节的增删更易,所呈现的是汉代工匠在文本解读基础上的自主性,彰显出其对图像叙事功能的探索。第五章以门楣石“车马出行”图为例,重点分析由若干场景并置而成的复合性图像,如何通过经营位置将相互独立的各个场景综合并置在一个或几个连续的画幅中,通过艺术要素间的类比关系获得构图意义上的联结,从而形成艺术表现上的模块化特点以及叙事表达上的累加式特征。第六章以沂南北寨汉墓为例,站在关联整体图像叙述的高度,全面审视从空间思维出发的空间叙事在墓葬整体叙事中的运用。结语部分从汉画诠释、图像学、叙事学的角度进一步阐明汉画图像叙事研究的意义所在。从汉画解读层面来看,图像叙事研究是对汉画诠释的进一步深化。从图像学本质而言,图像叙事研究是对语图关系的重思。从叙述学来观察,图像叙事是叙事学理论自身的扩容。概而言之,空间维度的图像叙事研究作为汉画研究的新路径,突破了传统的汉画研究范式而将汉画解读推向更深的层面,同时亦打破了结构主义叙事学的单一模式,扩展了叙事学理论的研究阵地。更多还原

【Abstract】 Zhang yan yuan discussed the narrative function of painting in his book the origin and development of painting: “Biography,which has narrative function,cannot describe objects;Fu and praise,which can intone the beauty,but cannot depict the image.While images can do.” Through visual symbols,Han Painting—the epitome of the humanistic spirit of the Han dynasty,metaphorically express the cultural connotation of "death is like alive".In recent years,the "image turn" trend of thought in western humanities and social sciences rekindling the interest of scholars in iconography,people are increasingly concerned about the "visible mind" of the image itself,in this way,the study of spatial narrative of Han Painting has entered the field of vision of scholars.Han Painting is an art of concentration in time and space,which is different from the linear expression of textual narrative.It visualizes the well-known literary classics that originally stayed at the level of abstract perception by lines,colors,three-dimensional sculpture and other means,and organizes the images of different themes by referring the cosmic schema.In the end,it constructs a field with flowing meaning,as complex as a mesh weave,and initiates an ultimate dialogue about the universe and people in this dynamic field.Across the 400 years of Han civilization,the burials,which are buried deep underground,are all set in a vast time-space framework and tell the same theme about the transformation of life.In this paper,more than 6,500 Han Painting distributed in Shandong,Henan,Shaanxi,Jiangsu,Shanxi,Anhui,Sichuan and other places are taken as the research object.Based on the comparison of pictures and texts,representative image materials in various regions are taken as the case,on the basis of continuing the theoretical features and models of iconography itself,it is associated with narratology,linguistics,semiotics,rhetoric and other research methods to reveal the basic principles of the unit image narration,the juxtaposition features of the composite images narration and the spatial construction of the overall narration of tombs.Thus,it forms a research framework from point to line and from line to surface,and attempts to elevate the empirical description to the theoretical level.The dissertation consists of seven chapters.Introduction part mainly states the aim and significance of the research,research methods and the literature review as well as the unique viewpoints of the dissertation.Chapter One focuses on the cultural background of thick burial in the Han dynasty.Feudal ethics and the view of "immortal soul" are the fundamental reasons for the thick burial.Chapter Two starts from the perspective of the burial form and system,combing the development and evolution of the patriarchal temple system since the Shang and Zhou dynasties,and analyzing the external reasons for the prosperity of stone tombs of Han Dynasty Portraits.The policy of "the combination of tombs and temples",together with the escalating social productivity,eventually led to the expansion of the underground cemetery.In this process,the Han Painting also evolved from plane decoration to space art with narrative characteristics,and various themes eventually constructed a miniature universe in the underground world covering the three boundaries of heaven,wonderland and happy homeland.Chapter Three elaborates the "dynamic relationship" between images and texts in early Chinese art practice from the perspective of the intertextuality of "text-language",including the image-to-text simulation,such as the large number of historical stories carved in Han painting.It also includes the textual description of images,such as Song of Zhang Gong’s Stele,and Lu Lingguang Dian Fu.Through the comparison between "word narration" and "image narration",it is shown that Han Painting is not limited to auxiliary literature or "picture history","but also contains some conscious choice,design and conception,which conceals history,value and idea".Han Painting is a typical spatial art,whose essential attribute is "spatial narration".If dissect the special space,Han Painting can be divided into three types according to the narrative level: unit image narration,compound image narration and overall space narration.In the following three chapters,the author will try to explain the mechanism of the image narration of Han Painting under the specific cultural background from the perspective of the narrative form and narrative mode of the images in Han Painting.Chapter Four takes "Return the Jade Intact to the State of Zhao" as an example to discuss the basic theory of unit image narration.From the Han Paintings that have been sorted out at present,many images based on historical stories are "mostly ready-made textual languages".Taking " Return the Jade Intact to the State of Zhao " as an example,through the comparative analysis of two different narrative forms of images and texts,we can find that Han painting has brought unique visual experience to the viewer by its unique composition,that is,fix "the most fertile moment" in the plot of the text.At the same time,the composition of the image is not completely bound by the lattices,and the change of details shows the artist’s autonomy on the basis of text interpretation and his exploration of image narrative function.Chapter Five takes the "carriage and horse travel" picture on the lintel as an example,focusing on the analysis of how composite images integrate independent scenes by structural layout,and get the connection of composition meaning through the analogy between artistic elements,so as to form the modular features of artistic expression and the cumulative features of narrative expression.Chapter Six takes the Han tomb in Yi’nan as an example,standing at the height of the overall tomb narrative,comprehensively examines the application of spatial narrative in the overall tomb narrative from the perspective of spatial thinking.The conclusion further clarifies the significance of image narrative research in Han Painting from the perspectives of image interpretation,iconography and narratology.From the perspective of interpretation of Han paintings,image narrative research is a further deepening of image interpretation.From the perspective of the essence of iconography,the study of image narrative is a rethinking of the relationship between linguistic graphs.And from the perspective of narratology,image narration is the expansion of narratology theory itself.In a word,the image narrative research in spatial dimension is a new way to study Han Painting,it breaks through the traditional research paradigm of Han Painting and pushes image interpretation to a deeper level.At the same time,it breaks the single mode of structuralist narratology and expands the research field of narratology theory.更多还原