【摘要】 面容是一种表意的能指，人之为人在于有一张被内在精神“照耀”的脸。人类可以用无数创造物来证明自己的优秀，但最好的证明还是自己这副经历了漫长演化过程的面容。前语言阶段的面容沟通是往后一切沟通手段的根本、基础和出发点，人类学家把面部表情看作语言，心理学家进一步指出这种语言是四海通行的“世界语”。代表各种面部表情的图形符号不仅提示面容的在场，还能在一定程度上弥补文字交流的不足。中华为礼仪大国，儒家从一开始就把面容纳入规训范围。外貌描写是对叙事能力的一大考验，莱辛的“化美为媚”着眼于从动态角度描摹面容，我们的古人早就认识到应该“弃静取动”,所谓“深描”就是写出“态”或“媚态”。面容的吸引力与人物的行动力成正比，要让读者相信故事中那些几近疯狂的行动是可能的，先得充分展示面容对行动者内心的剧烈扰动。麦克卢汉主张“媒介即信息”,即通过什么去感知决定感知到的是什么，这一观点有助于理解面容为什么成为“读图时代”备受关注的对象。更多还原

【Abstract】 The face is an ideographic signifier.To be human is to have a face “illuminated” by the inherent spirit.Man can prove his/her superiority with countless creations, but the best evidence is his/her own face, which has undergone a long evolutionary process.Facial communication in the pre-linguistic stage is the essence, foundation and starting point of all subsequent communication means.Anthropologists regard facial expression as language, and psychologists further point out that it is an universal language.Graphic signs representing various facial expressions not only indicate the presence of the face, but also make up for the lack of text communication to a certain extent.China is a country of etiquette, from the beginning, Confucianism included faces into the scope of discipline.Appearance description is a big test of narrative competence.Lessing’s“Converting Beauty into Grace” focuses on depicting faces from a dynamic perspective.Our ancient people had long realized that we should “abandon static and take dynamic”,the so-called “thick description” was to write “state” or “grace”.The attraction of the face is in direct proportion to the action of the character.To convince the reader that the nearly mad action of the story is possible, the violent perturbation of the face upon the mind of the actor must be fully demonstrated.McLuhan claims that “the medium is the message”,that is, what is perceived determines what is perceived, which helps to understand why the face has become such an object of interest in the “era of photo-reading”.更多还原