艺术图像意义的创生、叠加与汇聚——基于南宋宫廷绘画的分析阐释

Creation, Superposition and Deduction of Image Meaning: Based on the Analysisand Interpretation of the Court Paintings of the Southern

艺术图像的意义并不完全决定于创作者的意图,也绝非止步于其产出之时,而是来自经由即时创生、历时叠加和多元汇聚层累而成的意义体系。有关南宋宫廷绘画艺术的深入分析表明,其图像意义具有因尊崇皇家权威、形塑帝王形象等国家意志的规约而生成的政治意义,因其生命史历程中多元文化权力的参与而持续叠加的文化意义,因图像文本自主性而于开放语境中拓展出的意义汇聚,由此形成立体多重的图像意义架构。宫廷绘画的意义架构具有独特性,但其经由主导者、创作者、观看者、释读者、批判者等多元主体共同参与、交流、消解、融会的长时段动态建构过程,则体现出艺术图像获得永续生命活力、在历史深处与文明同行的共性生成路径和普适性内在机制。

In the art of painting,including court paintings,the generation of its image meaning is neither entirely determined by the creator’s intention,nor does it stop at the time of its output.Its meaning is a meaning system created through instant creation,diachronic superposition and synchronicity.Due to the special identity and realistic appeal of the painting subjects,court paintings have specific value presuppositions and meaning frames in terms of creative intentions and functional development.It was not only the record of the national construction process and construction achievement,but also the fields,means and participants of national construction.It was planned and organized cultural and even political activities that served immediate needs,which was of greater political significance than literati paintings and folk paintings.As far as the Southern Song Dynasty is concerned,due to its special historical circumstances,political and military structure,and realistic pressure,political significance was particularly valued.It took on more roles in shaping the image of the emperor,maintaining the political unity of the dynasty,stabilizing the political situation and popular sentiment,rebuilding social order,and strengthening the collective identity of the people and served other political and educational functions.National will was an important factor in regulating the political significance of court paintings,but it was not the only factor. When looking back at the court paintings of the Southern Song Dynasty, wecan see that in the process of historical transmission of paintings, different subjects such as creators, thepublic, and the cultural value system all resort to their cultural power to advocate, interact and blend,and participate in the generation of the meaning of paintings. The process presents three dimensions,and forms a cultural space with superimposed meanings from a deeper, wider, richer, and more complexlevel.The meaning of paintings also comes from the re-examination of the concept of work by using texttheory, the reference and application of the concept of text after this review, and the resulting publicspace for meaning deduction. The so-called “public nature” means that the painting works have beentempered by history, in terms of themes, techniques, schemas, etc., to condense classic elements, whichare separated from the author, travel through time and space, and exist independently, and becomepublic resources in the tradition of painting art. These classic elements shared by different periods anddifferent subjects in creation of paintings, providing infinite and diverse possibilities for the continuousinterpretation of image meaning.Taking the court paintings of the Emperor Gaozong and Emperor Xiaozong of Southern SongDynasty as a case for analysis, this paper attempts to interprete the political, cultural and textualmeanings of painted images accumulated in the complete life course of instant creation, time-superpositionand multiple convergence, as well as the three-dimensional and multiple image meaning structuresformed correspondingly. On the basis of the analysis, the paper is meant to reveal the commongeneration path and universal internal mechanism of images to acquire sustainable life vitality.