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1.敦煌壁画透视的模糊性特征 前面,我们从空间的有序和无序、视觉中心的复合结构、时空结构三个方面揭示了敦煌壁画的时空处理方法,更加清楚了与西方传统焦点透视的区别所在。它们处理时空时尽管都以物体的大小、位置、外形、以及时间等因素为根据,却表现了很大差异。我们不能光从大小、位置等具体因素中去揭示焦点透视的本质特征是确定性,也就是说其空间及空间的处理方法是确定的,基于从这个角度对空间本质的认识,我们说敦煌壁画的空间结构具有模糊性特征。这种模糊是暧昧的,有弹性的。它具有流动的过渡空间,富于很大的包孕性,宽松性,中介性。它不是非此及彼,而是亦此亦彼,它不是非明即暗,而是亦明亦暗,若明若暗。 具体说来,敦煌壁画透视的模糊性特征包括三个方面。首先,空间的不确定。敦煌壁画在处理空间时往往多采用视觉中心的复合结构,把各个情节或局部的空间融合在一幅画面的大空间里,但是画家怎样去创造,观众又如何去感觉只能依循自己的主观感受,因而是模糊的。还有,画中每一个局部都是清楚的(大小、轮廓),但是怎样去确定,依据什么标准,除根据其故事内容,主要还是依据画家自己揣摩、想象。在处理这样的时空时,主观意识的东西占据主导作用,空间处理也就没有一个确定的标准。
1. Fuzziness Characteristics of Dunhuang Frescoes In the front, we have revealed the methods of temporal and spatial treatment of Dunhuang frescoes from three aspects: the order and disorder of space, the compound structure and the structure of time and space of Dunhuang, Difference lies. Although they are based on the size, location, shape, and time of the object when they deal with space-time, they show great differences. We can not just reveal the essential characteristics of focus perspective from specific factors such as size, position, etc. That is, the method of handling space and space is definite. Based on the understanding of the nature of space from this perspective, we say that the Dunhuang fresco The spatial structure has the characteristics of fuzziness. This ambiguity is ambiguous and flexible. It has the flow of transitional space, rich in great inclusion, relaxed, intermediary. It is not non-existent, but it is also true. It is not non-obscurity, but it is also obscure and dark. Specifically, the fuzziness features of Dunhuang murals include three aspects. First, the uncertainty of space. Dunhuang murals often use the composite structure of the visual center to deal with space, the various plots or local space fusion in a picture of a large space, but how to create painters, the audience how to feel can only follow their own subjective feelings , It is vague. Also, every part of the painting is clear (size, outline), but how to determine, according to what criteria, except according to the story content, mainly based on the artist himself try to figure out, imagine. When dealing with such a space-time, subjective consciousness takes a leading role and spatial processing does not have a definite standard.