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在山西芮城永乐宫重阳殿,东壁、北壁东西两侧、西壁以及扇面墙背面满绘壁画,画面主要采用对真实物理空间的场景再现式手法,分段讲述金末元初全真开派祖师王重阳出家入道及度化7位弟子的故事,可谓“王重阳祖师画传”。画传共分为55组,每组分别由榜题和图像两部分构成。然而,自编号第16至第24共9组度化马钰夫妇的场景中,却挪用了10个地狱惩戒的图式。因其位置在整个北壁东侧,故自成一体;同时又因插入了虚拟空间——地狱,而使得9组场景在整铺壁画中与众不同。这种特殊性引发我们对其有何特征、从何而来以及为何存在等多方面问题的思考。接下来,就将其图文结构、文本来源进行具体分析,并借用罗兰·巴尔特的“刺点”概念对其在场的意义展开讨论。
In Shanxi Ruicheng Yongle Palace Chongyang Temple, east wall, north wall east and west sides, the west wall and fan wall full of painted murals, the screen mainly uses the real physical space scene reproduction style, The story of the founder Wang Chongyang who became a monk and became a disciple of seven disciples can be described as “the biography of Wang Chongyang’s founder.” The painting is divided into a total of 55 groups, each group consists of two parts of the list and image. However, from the 16th to the 24th, a total of 9 groups of Ma Yu-ma sisters were conscripted, but 10 drawings of hellish discipline were diverted. Because of its location on the eastern side of the entire northern wall, it is self-contained; at the same time as a result of the insertion of a virtual space - hell, making 9 sets of scenes in the whole mural different. This particularity leads us to think about its own characteristics, its origins, its existence and many other issues. Next, it analyzes the graphic structure and the source of the text, and discusses the significance of Roland Barthes ’s “stab” in his presence.