从卷轴山水到“卧以游之”:中国“全景”视觉文化的美学考察

From Scroll Painting to“Dream Journey”:The Aesthetics of Chinese“Panorama”Visual Culture

“全景”一词既指涉具体的媒介物,又包括着观看方式与文化思想,在各个时期的媒介技术与媒介文化中都有丰富的体现。卷轴山水画和宋代全景山水画作为中国古代的全景实践,体现出了中西全景视觉文化的差异之处,西方全景实践通常关注对现实世界的还原,而中国古代的全景实践以“审美感知”为核心,凸显了观者审美的主动性。此外,作为山水画观看方式的“卧游”概念,体现了中国古代的全景美学观,进一步凸显了美学素养与精神境界在全景式观看中的重要性,并为当代数字化背景下全景媒介技术的应用提供参考。

The term“panorama”not only refers to specific media objects,but also includes observation styles and thoughts,which have rich manifestations in media technology and culture in various periods.As panoramic practices in ancient China,scroll landscape painting and panoramic landscape painting of Song Dynasty reflect the differences between Chinese and Western panoramic visual cultures.Western panoramic practices usually focus on the restoration of the real world,while ancient Chinese panoramic practices are centered around“aesthetic perception”,highlighting the viewer’s initiative in aesthetic appreciation.In addition,the concept of“dream journey”as a panoramic landscape viewing pattern reflects the aesthetic concept of panoramic view in ancient China,further highlighting the importance of aesthetic literacy and spiritual realm in the panoramic observation style,and provide reference for the application of panoramic media technology in the context of contemporary digital context.