摘要
语言和图像是人类历史上最主要的两种表意符号,但是,在“备物致用”的社会,人们并不将二者相提并论,“崇文抑画”是普遍的价值判断。汉代王充将图画喻为厨房之“空器”“无物益于饥”;柏拉图的“洞穴之喻”表达了类似的道理,认为影像世界是不真实的:说明“空器/空洞”说乃哲学史上的共识。笔者认为,相对语言符号而言,恰恰是图像之“空”,为身体“被快乐”提供了自由空间,同时也为文学“被题画”预留了位置。这就是图像符号的“虹吸原理”。从某种意义上说,它是人类情感世界的“宇宙黑洞”。
Language and image are the two major methods of signification in human history,yet in a pragmatical society,people don’t consider them as equals,admiring texts while ignoring paintings.In the Han Dynasty,Wang Chong compared paintings to “empty vessels” in the kitchen as they “do no good for a hungry man”;Plato’s allegory of the cave proposes a similar opinion that the world of image is but a shadow,indicating that the metaphor of the “empty vessel/empty hole” is a global consensus in the history of philosophy.This article suggests that unlike language,image has an “emptiness” that provides the body a chance to be happy and reserves a place for literature in paintings.This could be called a “siphon principle” of image.In a way,it is a “cosmic black hole” of the human emotional world.
作者
赵宪章
ZHAO Xianzhang(Center for Research of Chinese New Literature,Nanjing University,Nanjing 210023)
出处
《文化艺术研究》
2022年第4期64-69,114,共7页
Studies in Culture and Art
关键词
题画文学
图像
虹吸原理
洞穴之喻
poetry for Chinese painting
image
siphon principle
allegory of the cave
