复制与自我复制——试论中国古代艺术摹仿说视域中的《红楼梦》

Reproduction and Self-reproduction——On the Creation of Honglou Meng from the Perspective of Chinese Ancient Art Imitating Theory

在中国古代艺术领域,宋元以来的艺术家多将自己的创作看作是对古人作品及其意象、情境的“摹”“仿”或“拟”。《红楼梦》与仇英的《汉宫春晓》《汉宫百美图》等长卷之间亦存在类似的艺术关联。在自觉的艺术防御心理机制基础上,曹雪芹吸收了此类长卷容纳万有的艺术手法和程式化的事件、意象、场景,使之成为隐藏于文本内部的带有原则性和稳定性的艺术结构;这些事件、意象和场景进入《红楼梦》文本之后不断展开循环式的自我复制,封闭的文本内部进行意义的自我再生产。曹雪芹将长卷与长篇融为一体的创作方式,改写了传统摹仿论思想的理论基质,使《红楼梦》、仇英及其创作的艺术史地位需要重新评估,也为我们建构新的文本理论提供了重要启示和资源。

In the field of ancient Chinese art,artists since the Song and Yuan dynasties have mostly regarded their creations as“imitating”and“simulating”the works of ancients and their images and situations.Honglou Meng have a similar artistic connection with Spring morning in the Han Palace and Hundreds of beauties in the Han Palace by Qiu Ying.Based on the conscious psychological mechanism of artistic defense,Cao Xueqin absorbed the means of artistic expression containing everything and stylized events,images,and scenes of such long scrolls,making them a principled and stable artistic structure hidden in the text.After these events,images and scenes enter the text of Honglou Meng,they reproduce themselves in a circular manner,and the enclosed text continuously reproduces meanings.Cao Xueqin’s creative method of integrating long scrolls and novels has rewrote the theoretical basis of traditional imitation theory.The art history status of Honglou Meng,Qiu Ying and his creations need to be reassessed.It also provides us with an important role in constructing new text theories enlightenment and resources.