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嘉祥武氏祠以图像叙事为主体的历史故事类画像中,图像选取“最富于孕育性”的时刻进行描绘,或者使用“综合性”叙事,力求叙事效果的最大化,题记退居幕后,负责唤醒观者曾经构建的语言和图像的原初关联。以题记叙事为主体的画像,图像或者成为题记中某句话的模仿或再现,同时又对题记叙事形成二次构建,或者实现图像系列化。题记叙事、图像叙事与传世文献互相校勘,可以考察这些历史故事在汉代的不同版本及存在状态。
Jiaxiang Wu Ci Temple imagery as the main part of the historical story portraits, the image selection “the most fertile ” moment to describe, or use “comprehensive ” narrative, and strive to maximize the narrative effect, inscription Behind the scenes, it is responsible for awakening the original connection between the language and the image that the viewer once built. Taking the narrative narration as the main body of the portrait, the image becomes the imitation or reproduction of a certain sentence in the inscription, and at the same time it forms a second reconstruction of the inscription narration or realizes the serialization of the image. The inscription narration, image narration and handed down documents are collated with each other, so we can examine different versions and existing states of these historical stories in the Han Dynasty.