画文化与观文化——人类学绘画的“深描”与“观看”路径  

Painting Culture and Viewing Culture——Paths of“Thick Description”and“Viewing”in Painting Anthropology

作　　者：胡继宁 HU Jining

机构地区：[1]上海戏剧学院舞台美术系,上海200040

出　　处：《思想战线》2025年第2期74-82,共9页Thinking

摘　　要：绘画人类学跨学科实验的画文化行动,不仅是对族群文化、地方性知识的研究与他者文化的“深描”,还是包括“写文化—画文化—观文化”等多环节、多手段的系统性文化行为。人类学绘画作品既在艺术史视阈之下,更在文化整体性的综观下生发而成。画文化的诗学表达不仅在于“怎么画”,更在于“画什么”和“怎么看”,本土理论的方法论建构了绘画人类学跨学科实验的互动极致与认知极致。因此从现象学、图像符号阐释、目光考古学、本土理论综观等跨学科视角来讨论绘画人类学观文化的“观看”理路,以及从符号重返意义来看待绘画诗学价值,是绘画人类学的探索之路。The interdisciplinary exploration of painting culture within anthropological art is not merely an investigation into ethnic cultures and local knowledge,nor simply a“thick description”of the Other.Rather,it is a multi-layered cultural practice that encompasses the processes of“writing culture,painting culture,and viewing culture”.Anthropological paintings emerge not only within the framework of art history,but more profoundly from a holistic cultural perspective.Its poetics lie not merely in how one paints,but more importantly in what is painted and how it is perceived.The methodological framework grounded in local theories facilitates both the deep interaction and cognitive exploration within this interdisciplinary practice.Thus,approaching the act of viewing in painting anthropology through interdisciplinary perspectives—such as phenomenology,visual semiotics,the archaeology of gaze,and the synthesis of local theories—enables a reinterpretation of the poetic value of images.This is achieved by shifting the focus from symbolic form back to embodied meaning,thereby defining the exploratory trajectory of the field.

关 键 词：绘画人类学 观文化 深描 观看 符号学 

分 类 号：C95[社会学—民族学]