西方图像的殖民主义建构和视觉文化批判——以19世纪绘画和摄影为例  

Colonial Construction and Visual Culture Criticism of the Western Image ——Take nineteenth Century print and photography as an example

作　　者：陈之凡[1] 沈祥胜[1] 

机构地区：[1]武汉纺织大学传媒学院,湖北武汉430073

出　　处：《武汉纺织大学学报》2015年第5期49-51,共3页Journal of Wuhan Textile University

摘　　要：19世纪,随着清帝国逐渐的被迫对外开放,西方各国人员被允许在清帝国境内游历、传教、交流和记录。西方人本来有机会可以了解一个东方的文明,但是当话语权被西方完全掌握的时候,图像的内容却不可逆转的朝向了几乎与中国无关的方向,中国人不是可以自我发言的自由主体,中国被简单的标签化和符号化了。无论是画笔还是相机,两者都作为一种符号的承载工具,被运用于对殖民中国的图像构建中。In nineteenth Century, with the gradual opening up of the Qing Empire, western countries were allowed to travel, to preach, to exchange and record in the territory of the Qing empire. Westerners might have had a chance to understand an oriental civilization, but when the discourse power was completely mastered by the west, the content of the image went to a direction which are not relevant to China, while the Chinese people can not speak for themselves. The painting brush and the camera, both as a symbol of the selection tool, are applied to the construction of the image of the colony in china.

关 键 词：殖民主义 文化批判 图像语言 

分 类 号：J042[艺术—艺术理论]