论文部分内容阅读
本文分上、中、下三篇,上篇从“《红楼梦》现象”谈起,在考察18世纪以后的大观园图像呈现时,强调了现代视觉技术工具的重要性。例如,现存苏州桃花坞单色木刻《红楼梦》系列,采用透视灭点,夸张画面空间的纵深感,便是为了配合西洋镜的使用而绘制的。因此,仅仅看图还不够,而应该重构西洋镜的视境与视觉经验。中篇指出,伴随西洋镜等现代西方视镜而来的,并不是现代认知观念、空间想象与“模仿”、“再现”模式,而是中国本土的“魅影”话语的再生。下篇集中分析《大观园图》,揭示它如何通过真假虚实的时空演绎,将西洋镜所展示的魔幻“魅影”效果推向极致,从而完成了中国艺术史上一件稀世杰作,也以视觉艺术的全新方式对《红楼梦》做出了精湛的诠释。文章的上、中篇已分别见于《曹雪芹研究》2016年第1期和第2期,这里刊载的是下篇。
In this article, I will discuss the phenomenon of “Dream of Red Mansions” in the first, the last and the third. The article emphasizes the importance of modern visual technology tools when examining the Grand View Garden images after the 18th century. For example, the existing Suzhou Taohuawu monochrome woodcut “A Dream of Red Mansions” series, using perspective vanishing point, exaggerated the depth of the picture space is in order to meet the use of the diorama drawn. Therefore, just looking at the picture is not enough, but rather to reconstruct the visual environment and visual experience of the diorama. The article points out that modern western vision mirrors, such as dioramas, come not from modern cognitive concepts, spatial imagination, and “imitation” and “reproduction” modes, but rather from the Chinese “phantom” discourse The regeneration. The second part focuses on the analysis of Grand View Garden, revealing how it achieves the ultimate in the magical “Phantom ” effect exhibited by the diorama through the time-space interpretation of the true and the false, thus completing a rare masterpiece in Chinese art history. The new way of visual art makes exquisite interpretation to “Dream of the Red Chamber”. The article, the article has been found in the “Cao Xueqin research” 2016 first and second, here is published in the next article.