边框与屏幕:论数字影像与山水卷轴中的“游”与“观”

Frame and Screen:On"Traveling"and"Viewing"in Digital Images and Landscape Scrolls

进入数字时代之后,屏幕的观看方式依然建立在文艺复兴以来科学透视法所限定的边框观看经验之上,但数字影像的边框具备了可移动性。电影现象学研究认为,观看的主体与客体之间不仅仅是看与被看的关系,数字屏幕的可移动边框则进一步弱化了屏幕的物理属性,并向观念屏幕方向转变。这就与山水卷轴的“游观”方式具有了一定相似性。因此,将数字屏幕与卷轴图式进行类比,探讨山水卷轴绘画与数字影像背后的本体异同,具有重要的现实意义。

In the digital age,the way we view screens is still based on the experience of framed viewing,as defined by the scientific perspective method established since the Renaissance.However,the frame of digital images has acquired mobility.The phenomenology of cinema suggests that the relationship between the subject and object of viewing is not merely one of seeing and being seen,and the movable frame of digital screens further weakens their physical attributes,shifting towards the concept of the screen.This bears a certain resemblance to the"traveling and viewing"method in landscape scroll paintings.Therefore,drawing an analogy between digital screens and scroll formats to explore the ontological similarities and differences behind landscape scroll paintings and digital images holds significant contemporary relevance.