摘要
《珊瑚帖》作为米芾晚年的佳作,其书法价值自不必言。同时,它还是米芾传世的唯一画迹。立足于“跨媒介性”重新审视这件作品,则会发现,米芾在尺幅之内、数言之间运用了书、画、题、咏多种艺术语言来赞叹自己得到的一枝珊瑚。参照维尔纳·沃尔夫有关跨媒介性的类型学地图,《珊瑚帖》表现出的是一种归属于文学的“跨媒介叙事性”。而要探究书法的跨媒介性,则须着眼于笔墨的所指。由此可以认为,书法的跨媒介性既是潜存于笔墨对于表情、表意、表态等操演性语言媒介指涉功能之中的,又构成了一个区别于其他艺术样式的类型图式。
The Coral Shanhu tie is a masterpiece of Mi Fu’s later years,to say nothing of its calligraphy value,interestingly,it is also the is the only painting trace handed down by Mi Fu.review this art work with a focus on its media,we will find that within the very limited size of the scale and words,Mi Fu has changed a variety of artistic languages such as calligraphy,painting,labeling,and chanting to admire a branch of coral.Therefore,this work can be referred to as a classic example of cross-media in Chinese calligraphy works.However,from the perspective of typology,the intermediality of this work shows a"cross-media narrative"attributed to literature.To explore the intermediary nature of calligraphy,the study must focus on the pi-mo.The intermediary nature of calligraphy is latent in the referential function of pi-mo for expressions,expressions,and expressions of language media.Citing several important art works as examples,and referring to Werner Wolf’s“Music-Literature Cross-Media Typology Map”,we can classify and interpret the intermediality of Chinese calligraphy.
作者
袁帅
YUAN Shuai(School of Art,Nanjing University,Nanjing,Jangsu 210093)
出处
《艺术百家》
CSSCI
北大核心
2022年第1期24-31,177,共9页
Hundred Schools In Arts
基金
国家社科基金艺术学重大项目“艺术学理论的跨媒介建构及其知识学研究”(项目编号:20ZD26)阶段性成果。
关键词
《珊瑚帖》
跨媒介
书法
表情
操演
Shan Hu Tie
Intermediality
Calligraphy
Expression
Performativity
