摘要
画框之所以与图像再现联系紧密,是因为画框作为边界标注了观者对再现媒介与再现对象两种知觉意识的区分。换言之,经由画框—边界的介入,图画的二维平面与观者所见的三维空间之间构成了视觉意识的转换关系。由此,图像的二元特征就体现在观者对二维图画表面与再现对象之间的互动关系的认知。以贡布里希的错觉理论和沃恩海姆的"看进"说,以及后来者直接或间接的回应为评说对象,通过厘清不同的再现理论中所隐含的对图像二元特征的不同辨解,旨在说明作为"边界"标记的画框如何规定了图像的存在方式,以及画框—边界如何在知觉意识层面介入了我们对图像世界的整体感知。
The frame is closely linked with pictorial representation because of its functions as a boundary or border that marks beholder＇ s perception of the distinction between designs of picture and its representational ob- jects. In other words, the frame - boundary indicate this continuity, this translatability of two - dimensional plane of pictures and three - dimensional space. Accordingly, the notion of the duality of picture perception basi- cally refers to the phenomenon that pictures can generate an in - depth spatial impression of the scene depicted while at the same time appearing as flat two - dimensional surfaces of picture. This paper mainly focus on theories of pictorial representation including Gombrich＇ s Illusionism and Wollheim ＇ s Seeing - in. Clarifying different critical perspectives on the notion of dual character of pictures which is reflected in pictorial representation, we claims that the perceptual frame provides a natural framework for handling the dual nature （ or two foldness ） of picture perception.
出处
《内蒙古社会科学》
CSSCI
北大核心
2016年第5期131-138,共8页
Inner Mongolia Social Sciences
基金
重庆市研究生科研创新项目"画框的隐现与艺术观念转捩"(编号:CYB2015073)
