A Metaphor of Time and Space in the “Bird” Images of Han Dynasty Stone and the “Gansu Flying Horse”: Taking the Visual Interpretation of “Inverted Expression of Images” as Logical Starting Point from a Cross-Cultural Perspective

MA Kaizhen

doi:10.19857/j.cnki.ICL.2020322

Volume 3 Issue 2

Mar. 2021

Turn off MathJax

Article Contents

Article Navigation > International Comparative Literature > 2020 > 3(2): 223-260

MA Kaizhen. A Metaphor of Time and Space in the “Bird” Images of Han Dynasty Stone and the “Gansu Flying Horse”: Taking the Visual Interpretation of “Inverted Expression of Images” as Logical Starting Point from a Cross-Cultural Perspective[J]. International Comparative Literature, 2020, 3(2): 223-260. doi: 10.19857/j.cnki.ICL.2020322

Citation:

MA Kaizhen. A Metaphor of Time and Space in the “Bird” Images of Han Dynasty Stone and the “Gansu Flying Horse”: Taking the Visual Interpretation of “Inverted Expression of Images” as Logical Starting Point from a Cross-Cultural Perspective[J]. International Comparative Literature, 2020, 3(2): 223-260. doi: 10.19857/j.cnki.ICL.2020322

Citation:

MA Kaizhen. A Metaphor of Time and Space in the “Bird” Images of Han Dynasty Stone and the “Gansu Flying Horse”: Taking the Visual Interpretation of “Inverted Expression of Images” as Logical Starting Point from a Cross-Cultural Perspective[J]. International Comparative Literature, 2020, 3(2): 223-260. doi: 10.19857/j.cnki.ICL.2020322

PDF( 17620 KB)

A Metaphor of Time and Space in the “Bird” Images of Han Dynasty Stone and the “Gansu Flying Horse”: Taking the Visual Interpretation of “Inverted Expression of Images” as Logical Starting Point from a Cross-Cultural Perspective

doi: 10.19857/j.cnki.ICL.2020322

MA Kaizhen

School of Fine Arts of Jiangsu Normal University

Received Date: 2019-12-07
Rev Recd Date: 2020-04-10
Publish Date: 2021-03-09

Abstract

Abstract

This paper abstracts a classic visual practice of “inverted expression of images” from Han Dynasty stone art, which belongs to the giant gene pool of human visual culture, to implement induction and reorganization. This specific visual practice is situated in a cross-cultural perspective of world art, which includes primitive art, classical art, and folk art, to juxtapose and compare two kinds of thinking and two different visual methods: the primitive and the scientific. Taking this as a logical starting point, the author analyzes, differentiates, and interprets the metaphor of time and space from the “bird” images of Han Dynasty stone to the “Gansu Flying Horse,” and explores the coding mode of its “prototype,” in order to finally achieve a basic description of this unique visual practice of early civilization in the sense of art and anthropology.
- Han Dynasty stone,
- bird image,
- Gansu Flying Horse,
- visual way,
- inverted expression of images,
- image interpretation,
- time and space metaphor

FullText(HTML)

References(28)

References

[1]	(美)弗兰茨·博厄斯:《原始艺术》,金辉译,上海:上海文艺出版社,1989年。
[2]	[Boas, Franz. Yuanshiyishu (Primitive Art). Translated by JIN Hui. Shanghai: Shanghai Literature & Art Publishing House, 1989.]
[3]	(美)威廉·弗莱明、(美)玛丽·马里安:《艺术与观念》,宋协立译,北京:北京大学出版社,2008年。
[4]	[Fleming, William, and Mary Marien. Yishu yu guannian (Arts and Ideas). Translated by SONG Xieli. Beijing: Peking University Press, 2008.]
[5]	(清)郝懿行:《山海经笺疏》,成都:巴蜀书社,1985年。
[6]	[HAO Yixing. Shanhaijing jianshu (Shanhaijing Jianshu). Chengdu: Bashu Publishing House, 1985.]
[7]	金开诚主编:《文艺心理学术语详解辞典》,北京:北京大学出版社,1992年页。
[8]	[JIN Kaicheng, ed. Wenyixinlixue shuyu xiangjie cidian (Dictionary of Literary Psychology Terms). Beijing: Peking University Press, 1992.]
[9]	(法)克劳德·列维-斯特劳斯:《结构人类学》,陆晓禾、黄锡光等译,北京:文化艺术出版社,1989年。
[10]	[Levi-Strauss, Claude. Jiegourenleixue (Structural Anthropology). Translated by LU Xiaohe, HUANG Xiguang et al. Beijing: Culture and Art Press, 1989.]
[11]	李泽厚:《美的历程》,北京:文物出版社,1981年。
[12]	[LI Zehou. Mei de licheng (The Course of Beauty). Beijing: Cultural Relics Publishing House, 1981.]
[13]	(美)乔治·E.马尔库斯、(美)米开尔·M.J.费彻尔:《作为文化批评的人类学》,王铭铭、蓝达居译,北京:生活·读书·新知三联书店,1998年。
[14]	[Marcus, George, and Michael Fisher. Zuoweiwenhua piping de renleixue (Anthropology as Cultural Criticism). Translated by WANG Mingming and LAN Daju. Beijing: SDX Joint Publishing Company, 1998.]
[15]	(美)菲尔·梅茨格:《透视的艺术——绘画中纵深感的创造》,王毅译,上海:上海人民美术出版社,2004年。
[16]	[Metzger, Phil. Toushi de yishu: huihuazhongzongshengan de chuangzao (The Art of Perspective: The Creation of Longitudinal Depth in Painting). Translated by WANG Yi. Shanghai: Shanghai People's Fine Arts Publishing House, 2004.]
[17]	(美)巫鸿:《黄泉下的美术》,施杰译,北京:生活·读书·新知三联书店,2010年。
[18]	[WU Hong. Huangquanxia de meishu (The Art of the Yellow Spring). Translated by SHI Jie. Beijing: SDX Joint Publishing Company, 2010.]
[19]	武利华:《徐州汉画像石通论》,北京:文化艺术出版社,2017年。
[20]	[WU Lihua. Xuzhou hanhuaxiangshi tonglun (A General Research on the Stone Relief of Han Dynasty in Xuzhou). Beijing: Culture and Art Publishing House, 2017.]
[21]	新疆龟兹石窟研究所编:《中国新疆壁画·龟兹》,乌鲁木齐:新疆美术摄影出版社,2008年版,第45页。
[22]	[Xinjiang Kucha Grottoes Research Institute. Zhongguo xinjiang bihua Qiuci (Kucha Mural in Xinjiang, China). Urumqi: Xinjiang Fine Arts Photography Press, 2008.]
[23]	信立祥:《汉代画像石综合研究》,北京:文物出版社,2000年。
[24]	[XIN Lixiang. Handai huaxiangshi zongheyanjiu (A Comprehensive Study of Han Period Pictorial Stones). Beijing: Cultural Relics Publishing House, 2000.]
[25]	张道一:《画像石鉴赏》,重庆:重庆大学出版社,2009年。
[26]	[ZHANG Daoyi. Huaxiangshi jianshang (Appreciation of Pictorial Stones). Chongqing: Chongqing University Press, 2009.]
[27]	张荣生编著:《美洲非洲原始民族艺术》,长沙:湖南美术出版社,1987年。
[28]	[ZHANG Rongsheng, ed. Meizhou Feizhou yuanshiminzu yishu (The Primitive National Art of America and Africa). Changsha: Hunan Fine Arts Publishing House, 1987.]