符号学视域下徽派版画作品的视觉呈现与记忆传承

Visual Presentation and Memory Inheritance of Anhui Printmaking Works from the Perspective of Semiotics

徽派版画是安徽省首批省级非物质文化遗产,这一艺术形式在漫长的历史变迁中自兴起、鼎盛到创新、传播外埠,已形成了完整的体系,是徽州地区集体记忆的重要载体。本文以文化符号学作为切入点,对不同时期的徽派版画进行视觉符号内容的解读,并探索各时期作品中符号出现的规律,试图具象化地呈现其背后隐藏着的深刻的社会文化内涵。研究发现,从宋代至元明时期,徽派版画初步形成包括人物、景观、房屋、石碑及文字注解在内的文化符号构建;明代及清初符号类别愈加丰富,形成了集体共识;此后,这些符号历经清朝至20世纪30年代的消弭,从抗战时期开始的逐步重构,至新中国成立后的不断发展。徽派版画的当代符号表征更具抽象性、个性化。对徽派版画视觉呈现系统的变迁及其再生产现状的探究,对我国传统艺术作品的发展路径亦具有一定的启示作用。

Huizhou Printmaking is the first batch of provincial intangible cultural heritage in Anhui Province.This art form has completed a full system since its rising,culmination,innovation,and expansion to other places in the long history and it is an important carrier of collective memory in Huizhou area.Taking cultural semiotics as the starting point,this article interprets the visual symbol content of Huizhou printmaking in different periods,explores the rules of symbol appearances of each period,and visualizes the profound social and cultural connotations hidden behind them.From the Song Dynasty to the Yuan and Ming Dynasties,Huizhou Printmaking has gradually constructed a cultural symbol system including human figures,landscapes,houses,steles,and text annotations.In Ming Dynasty and early Qing Dynasty,symbols in those works became more abundant and formed a collective consensus.Later,these symbols disappeared from the Qing Dynasty to the 1930s,and then gradually from the period of Anti-Japanese War to the founding of New China.The contemporary symbol system is more abstract and individualized.Research on the changes and reproduction of the visual presentation system of Huizhou printmaking is also instructive for the development of Chinese traditional works of art.