从汉画像石“鸟”图像到“铜奔马”的时空隐喻——以跨文化视域下“物像倒置表现”的视觉诠释为逻辑起点

A Metaphor of Time and Space in the“Bird”Images of Han Dynasty Stone and the“Gansu Flying Horse”:Taking the Visual Interpretation of“Inverted Expression of Images”as Logical Starting Point from a Cross-Cultural Perspective

本文从汉画像石艺术这一人类视觉文化基因库中,提取“物象倒置表现”这一经典的视觉方式进行梳理与归纳,并将这一视觉方式置于世界艺术,包括原始艺术、古典艺术、民间艺术的跨文化视域中,进行“原始”与“科学”两种思维及视觉方式的并置比较与思考,进而以此为逻辑起点,梳理、辨析及诠释从汉画像石“鸟”图像到“铜奔马”的时空隐喻,探索其“原型”的编码方式,从而在艺术学与人类学的意义层面上,实现对早期人类这一独特的视觉方式的基本描述。

This paper abstracts a classic visual practice of“inverted expression of images”from Han Dynasty stone art,which belongs to the giant gene pool of human visual culture,to implement induction and reorganization.This specific visual practice is situated in a cross-cultural perspective of world art,which includes primitive art,classical art,and folk art,to juxtapose and compare two kinds of thinking and two different visual methods:the primitive and the scientific.Taking this as a logical starting point,the author analyzes,differentiates,and interprets the metaphor of time and space from the“bird”images of Han Dynasty stone to the“Gansu Flying Horse,”and explores the coding mode of its“prototype,”in order to finally achieve a basic description of this unique visual practice of early civilization in the sense of art and anthropology.