从“在场”到“悬置”:鲁迅图像的发生及演变

From "Presence" to "Suspension": The Occurrence and Evolution of Lu Xun’s Portraits

鲁迅在世时,留存、收藏了不同美术家创作的七幅鲁迅肖像。这一行为可视作鲁迅体认自我、“自塑”形象的一种方式。1936年之后,尤其是新中国成立以后,鲁迅图像创作从私人情感的表达转为政治话语建构之诉求,逐渐演变为一种“图像政治”。由于图像以其直观性、形象性和魅惑性能够更加迅速有效地进行意识形态建构,创作鲁迅图像自然是阐释和“争取”鲁迅的绝佳方式。经由美术家们一次次的呈现、改写和重塑,“鲁迅”游离于历史本体,而成为某种政治表征和时代印记。

Whenhe was alive, Lu Xun collected seven portraits of himself by different artists.This collection can be regarded as a way for him to recognize himself and "mold" his image.After 1936,especially after the founding of New China, the creation of Lu Xun’s portraits changed from the expression of private emotion to the demand of political discourse construction, and Lu Xun’s portraits gradually evolved into a kind of "image politics".Because image can construct ideology more quickly and effectively due to its intuition, visualization and charm, the creation of Lu Xun’s portraits is naturally an excellent way to explain and "win over" him.Through the presentation, rewriting and reshaping of artists again and again, Lu Xun has dissociated from the historical noumenon and become a kind of political representation and the mark of the times.