汉代沂南北寨畏兽图视觉重构与谱系命名——通过一个视觉史案例回应有关《武梁祠》的讨论

Visual Reconstruction and Lineage Naming of the Weishou Images of the Han Dynasty in Nanbei Zhai,Yinan:Responding to Discussions on The Wu Liang Shrine through a Visual History Case

在当下中国古代造像研究中,有一种基本的研究方式,即看图辨义,或看图识物。它带来了两个陷阱:其一是文献替代图像的阐述,成为一种故事媒介,或者说文献插图;其二是图像类型的共性特征归纳,混淆了同类图像,无视个体存在的差异。将图像还给图像,是以视觉史的研究方法去进入,重走图像的生成路径,重塑其图像结构,重整其逻辑线路,以此寻找到其象征、隐喻、表述的意义之所在。本文以“墓室畏兽图像”为案例,进行视觉重构与谱系命名,实践视觉史方法论中对于图像的个体存在与定向叙述,以图像分析替代制作者制作的过程。同时,试图以此案例与巫鸿先生的《武梁祠》方法论展开进一步的对话。

In contemporary researches on ancient Chinese sculptures,interpreting images or identifying objects through visual analysis is the fundamental approach.However,this approach presents two pitfalls:first,replacing images with textual descriptions and downplaying the latter as a narrative medium or illustrations;second,over-generalizing images.Returning images to their visual essence entails employing the methodology of visual history,retracing the genesis of images,reshaping their visual structures,and reorganizing their logic to uncover their symbolic,metaphorical,and expressive meanings.This paper takes the Weishou images in Han grave chambers as an example to conduct visual reconstruction and lineage naming,practicing the methodology of visual history by focusing on the individual existence of images and providing directed narratives,thereby substituting the process of image analysis for artists'creative process.Additionally,it aims to initiate a dialog ith the methodology in Wu Hong's The Wu Liang Shrine through this case study.