具身·意象·图式--解码宋元山水画中村居空间的叙事性

Embodiment·Image·Schema Decoding the Narrativity of Village Space in Song Yuan Landscape Paintings

文章旨在挖掘宋元山水画中村居意象图式背后蕴含的主体认知与观念逻辑。通过运用图像志的研究方法,以具身感知的理论视角,对这一时期典型画作中的村居意象进行图解分析。研究表明宋元山水画中的村居空间是一种主客相融的复合空间,其意象的生成往往会经历主体“意”与客体“象”的具身互动过程,并表征为四种叙事情节:“江山胜景·全域”“深山舍寺·片景”“曲径幽园·一隅”“水岸空亭·旷点”,进而凝结成不同主体关照下的图式意蕴。解码宋元山水画中村居空间的叙事性,能为当下中国式村居空间营造的观念重塑提供有益的参考与启示。

This article aims to explore the subjective cognition and conceptual logic behind the imagery schema of village dwellings in Song and Yuan landscape paintings.By using the research method of image chronicles and from the theoretical perspective of embodied perception,this paper provides a graphical analysis of the village dwelling imagery in typical paintings of this period.Research has shown that the village living space in Song and Yuan landscape paintings is a composite space that blends subject and object.The generation of its imagery often undergoes a tangible interaction between the subject's"meaning"and the object's"image"and is characterized by four plotlines:"Jiangshan Scenic Area·Whole Area","Shenshan Temple·Piece Landscape","Qujing Garden·Corner",and"Waterbank Empty Pavilion·Point",which condense into schematic meanings under the care of different subjects.Decoding the narrative nature of village residential spaces in Song and Yuan landscape paintings provides useful reference and inspiration for the reshaping of the concept of creating Chinese-style village residential spaces at present.