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一当下是一个“图像转向”的时代,电影、电视、图书、网络表情符号……无处不是图像。原属语言叙事领地的“文”本正越来越多地被改编成“图”本,语图关系陡然紧张,这种现象不断引起人们的忧虑,也不断被人们所热议。而中国美术史不仅是一部图像史,也是一部直观形象的文学史。在中国美术史的绘画图像中汇集了语言和图像融合、斗争的发展历程,语图一体、语图分体、语图合体是三种主要的语图关系形态[1]。考察中国美术史中的语图关系为认清语图关系之源流及对缓和当下语图关系紧张之探索极具意义。
Nowadays is an era of “image shift”, movies, television, books, online emoticons ... everywhere images. Originally the language of the narrative territory “text ” is being more and more adapted into “map ” this, the relationship between the language diagram suddenly nervous, this phenomenon has caused continuous concern, but also continue to be hot . Chinese art history is not only an image history, but also an intuitive history of literature. The combination of language and image fusion in the images of Chinese art history, the development of struggles, the integration of language images, the separation of language images and the integration of language images are the three main forms of language relations [1]. Investigating the relationship between the diagrams in Chinese art history is of great significance in order to understand the origin of the relations between the diagrams and ease the tension in the current diagrams.