观物:屏风与团扇  

Viewing Things:On Relationship Between Screen and Tuanfan

作　　者：闫紫琦 刘晨[1] YAN Zi-qi;LIU Chen(The Master Hongyi and Feng Zikai Research Institute,Hangzhou Normal University,Hangzhou 311121,China)

机构地区：[1]杭州师范大学弘一大师•丰子恺研究中心,浙江杭州311121

出　　处：《美育学刊》2023年第6期109-117,共9页Journal of Aesthetic Education

摘　　要：在中国古代的日常用具中,屏风与团扇存在着许多相似之处。屏风与团扇的基本关联在于它们共同拥有的三重含义:可以是实物、绘画媒材与绘画图像,或者三者兼具。对于使用者群体来说,团扇与屏风的存在是他们身份与特质的象征。然而将二者联系起来的关键在于视觉,观看问题贯穿团扇、屏风的发展变化过程。从视觉观看的角度划分,团扇与屏风既是被观赏的物件,同时也是将单纯图像转换为可欣赏对象的观看媒介。There are many similarities between the screen and the tuanfan in the daily necessities in ancient China.The basic relationship between the screen and the tuanfan lies in their triple connotations:it can be physical objects,painting media and painting images,or both.Secondly,for users,the existence of the tuanfan and the screen is a symbol of their identity and characteristics.However,from the perspective of visual observation,the tuanfan and the screen are not only objects to be viewed,but also the viewing media that can convert simple images into viewable objects.

关 键 词：团扇 屏风 遮挡 视觉 景观 

分 类 号：J205.2[艺术—美术]