中国古代图像艺术中的“异托邦”——以《神路图》、汉墓帛画和《大威德金刚曼荼罗》为例

Heterotopia in the ancient Chinese paintings

纳西族的《神路图》、长沙马王堆汉墓画幡和元代藏式缂丝作品《大威德金刚曼荼罗》虽然分属不同的时代、民族、地域与文化,但在空间的谋划布局上却极具可比性,在彰显东方古代社会关于"灵魂"、"秩序"等信念的认识方面也殊途同归,实际上是构想了一个和今世相对的异质空间,即"异托邦"。借助福柯空间理论分析中国古代图像艺术超越时空、族群和文化的特征,可以解释其何以能具有所谓的后现代特征,并探索中国古代绘画的一些带有普遍性的表现规律。

The Dongba painting The Road to Heaven,the silk streamer unearthed from the Han Tombs at Mawangdui,Changsha City and the Kesi tapestry painting Yamantaka Mandala are very comparable in terms of their perception of another world(heterotopia)in spite of their difference in time,space,ethnic group and culture. This paper analyzes the shared characteristics of these ancient Chinese paintings from the perspective of Foucault's space theory. It also explores the reasons for the post-modernity in these artistic works and meanwhile discusses the universal techniques of the Chinese ancient paintings.