视觉修辞与《晋察冀画报》的“解放”书写

Visual Rhetoric and"Liberation"Writing in Chin-Cha-Chi Pictorial

作为革命话语对大众传媒的征用与改造,《晋察冀画报》不仅代表着革命话语与群众路线对抗都市消费话语的成功实践,也创构了20世纪上半叶“解放”观念视觉表征的审美范式。无论是双语结构的“图-文”互文、主题与图像形式的对比性设计抑或象征民族精神的隐喻符号的呈现以及人物肖像特写的神话性建构,其修辞性的视觉表征架设了影像形式与政治鼓动之间的潜在关联,使得基于修辞的视角理解画报意指成为可能。而“摄影武器论”与“延安文艺讲话”则从语境层面铺垫了“解放”观念修辞表达的深层动因与内在逻辑。《晋察冀画报》的“解放”书写与其说是晚清至民国画报启蒙表征的基因使然,不如说是中国共产党在掌握权力话语进程中提升自身文化配置的内在诉求,其对视觉文艺观及大众文化观的接纳与改造不仅成就了《晋察冀画报》的价值定位,对当代中国的视觉文艺建设同样不无启发。

As the requisition and transformation of mass media by revolutionary discourse,the Chin-Cha-Chi Pictorial(《晋察冀画报》)not only represents the successful practice of revolutionary discourse and mass line against urban consumption discourse,but also creates the aesthetic paradigm of visual representation of "liberation"concept in the first half of the 2Oth century.Its rhetorical visual representation of the image in the structure of the bilingual "figuretext"intertextuality,theme and image in the form of comparative design or symbol of national spirit of symbolic metaphor rendering and portrait mythological construction features,has set up the potential connection between image forms and politics,which made the understanding of pictorial means based on the perspective of rhetoric possible."Theory on photographic as a weapon"and"Talks at the Yan'an Forum on Art and Literary"set up the deep motivation and internal logic of the rhetorical expression of the concept of"liberation"from the context level.The illustration of the"liberation"writing in the Chin-Cha-Chi Pictorial,instead of a genetic characterization of pictorial enlightenment from the late Qing Dynasty to the Republic of China,is the internal demands of Communist Party of China for raising their cultural configurationin the process of mastering power discourse,whose acceptance and transformation of visual art and mass cultural viewpoints not only accomplished the value orientation of the Chin-Cha-Chi Pictorial,but also inspires the construction of visual arts in contemporary China.