图像中的声音表达--中国古代听松图的跨媒介阐释  

Sound Expression in Images:An Inter-media Interpretation of The Painting of Listening to the Pines in Ancient China

作　　者：刘坛茹[1] Liu Tanru

机构地区：[1]安徽师范大学美术学院

出　　处：《中国文艺评论》2024年第6期69-80,I0003,共13页China Literature and Art Criticism

基　　金：2023年度国家社科基金重大项目“中国古代空间叙事体系研究”(项目批准号:23&ZD278)的阶段性成果。

摘　　要：图像何以表现声音,是一个艺术跨媒介表达的问题。中国古代听松图通过强化主体的听觉性在场、“一主一仆”图式的“合唱队”效果、构图留白隐喻风孔、以题画诗弥补画面松声等手段,使图像的松声得以审美显现。并且,频繁使用临水听松、松下士人图式,以音助圣,敞开自然的审美空间。此外,静听松风也是松声转化为遗音的过程,由实到虚,绵延回旋。对于听松图而言,与其说松声是通过画面空间表现的,不如说是由松声通过艺术动势,召唤空间、创造空间,以时间统领空间,从而完成了跨媒介的艺术表达。How images can express sound is a matter of artistic inter-media expression.The ancient Chinese painting“Listening to the Song of the Pines”achieves the aesthetic manifestation of the sound of the pines through enhancing the auditory presence of the subject,the“chorus”effect of the“one master and one servant”schema,the blank composition metaphorizing the wind hole,and the use of inscribed poems to compensate for the sound of the pines in the picture.Moreover,the frequent use of the“Listening to the Song of the Pines by the Water”and“Listening to the Song of the Pines by the Pines”schemas,using sound to assist the sacred,opens up a natural aesthetic space.In addition,listening to the sound of the pines is also a process of transforming the sound of the pines into a legacy,from reality to virtuality,and extending and circling.For the painting“Listening to the Song of the Pines”,it is better to say that the sound of the pines is expressed through artistic momentum,summoning space,creating space,and dominating space with time,rather than through the spatial representation of the sound of the pines through the picture.

关 键 词：听松图 跨媒介 临水听松 遗音 艺术动势 

分 类 号：J212[艺术—美术]