酷刑与图画:中西方视觉传统中的肉身苦难
发布时间：2018-12-21 11:10
【摘要】：历史上酷刑并非哪一种文化特有的现象,但是形诸图像的肉身苦难却有着明显的东西方传统差异。中国传统图画中对肉身痛苦的描绘集中体现于地狱经变图中对阴间刑罚的想象性描绘,表面传递的是善恶因果的道德训诫,本质上却是权力对身体的控制、折磨与剥夺所达致的恐吓。这些图画游离于文人画正宗之外,多属匠人的模式化之作,对身体残损并未产生视觉上的深刻体察。而西方绘画中极尽写实地描绘断头残躯的传统却由来已久,米开朗基罗、卡拉瓦乔、波提切利等巨匠都有此类作品存世。而且,除却制图技法上的巨大差异,西方绘画中对基督钉十字架所经受的极端痛苦的细致描绘,使肉身苦难成为可供凝视与反思的凭借,因"道成肉身"的信仰传统而与精神救赎之间建立了视觉的关联。
[Abstract]:Torture is not a unique cultural phenomenon in history, but the physical suffering of various images has obvious differences between the East and the West. The depiction of physical pain in the traditional Chinese picture is embodied in the imaginative depiction of the underworld penalty in the metamorphosis of Hell. On the surface, it conveys the moral admonition of good and evil causality, but it is essentially the control of power over the body. The intimidation of torture and deprivation. These pictures are free from literati paintings, most of them are patterned by craftsmen, and do not produce a deep visual insight into the damage to the body. The tradition of realistic depiction of the beheaded remains in western paintings has a long history, such as Michelangelo, Caravaggio, Botticelli and so on. Moreover, in addition to the great differences in cartographic techniques, the meticulous depiction of the extreme pain of crucifixion in Western paintings makes the suffering of the flesh a source of contemplation and reflection. Because of the belief tradition of "Tao into flesh", it establishes a visual connection with spiritual salvation.
【作者单位】： 中山大学传播与设计学院;
【分类号】：J205
，
本文编号：2388830
[Abstract]:Torture is not a unique cultural phenomenon in history, but the physical suffering of various images has obvious differences between the East and the West. The depiction of physical pain in the traditional Chinese picture is embodied in the imaginative depiction of the underworld penalty in the metamorphosis of Hell. On the surface, it conveys the moral admonition of good and evil causality, but it is essentially the control of power over the body. The intimidation of torture and deprivation. These pictures are free from literati paintings, most of them are patterned by craftsmen, and do not produce a deep visual insight into the damage to the body. The tradition of realistic depiction of the beheaded remains in western paintings has a long history, such as Michelangelo, Caravaggio, Botticelli and so on. Moreover, in addition to the great differences in cartographic techniques, the meticulous depiction of the extreme pain of crucifixion in Western paintings makes the suffering of the flesh a source of contemplation and reflection. Because of the belief tradition of "Tao into flesh", it establishes a visual connection with spiritual salvation.
【作者单位】： 中山大学传播与设计学院;
【分类号】：J205
，
本文编号：2388830
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