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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。文章的上篇已见于《曹雪芹研究》2016年第1期,这里刊载的是中篇。
This article is divided into three parts, the first chapter from “” “A Dream of Red Mansions ” phenomenon “, after examining the 18th Century Grand View Garden image, emphasizes the importance of modern visual technology tools. 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 mode of ”imitation “ ”reproduction “, but rather of ”indigenous“ ”phantom “ discourse 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 first part of the article has been found in ”Cao Xueqin Research" 2016 the first period, published here is medium.