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文艺理论研究

文艺理论研究 ›› 2015, Vol. 35 ›› Issue (3): 146-155.

• 西方文论与美学研究 • 上一篇    下一篇

琴“声”如“诉”——声音与聆听作为一种绘画叙事之可能性

姜宇辉
  

  1. 华东师范大学哲学系
  • 出版日期:2015-05-25 发布日期:2015-07-10
  • 作者简介:姜宇辉，华东师范大学哲学系副教授，主要研究当代法国哲学和艺术哲学。

Sound and Listening as a Figurative Narration

Jiang Yuhui
  

  1. the Department of Philosophy, East China Normal University
  • Online:2015-05-25 Published:2015-07-10
  • About author:Jiang Yuhui is an associate professor in the Department of Philosophy, East China Normal University, with research interests in modern French philosophy and philosophy of art.

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摘要： 对绘画图像的研究可以采取两条进路。一条是占据主流的潘诺夫斯基式的图像学的上行进路，将图像引向高阶的意义模式。另一条则是与之相对的下行路线，试图回归图像本身及其变形运动。德勒兹与福西永是后一进路的代表性理论家。而康定斯基所引入的声音隐喻则更为我们切实思索图像运动的潜在动力提供了重要线索。带着这些重要启示，我们将在中国古代的诗意画传统之中，尤其结合经典的莲画作品，进一步展现声音与聆听作为一种潜在的绘画叙事的可能性。

关键词: 图像本身, 变形, 声音, 莲画

Abstract: The study of pictorial images could follow two different approaches. One is the Panofskian iconology, which intends to bring the visual images to the higher modes of meaning. The other is the downward approach, which tries to return to the image itself. Deleuze and Focillon are the two advocates of the latter one. The sound metaphor Kandinsky introduced in his explanation of visual elements provides another important path for us to trace the potential motivation of deformation of images. With these crucial clues, the sound and listening as a kind of figural narration could be explained, especially within the reference to the convention of Chinese poetic lotus ink paintings.

Key words: figure lui-même, déformation, sound, Chinese lotus painting