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Affective Landscapes: Vision and Narrative in Nineteenth-Century Chinese Picture-Texts 情感景观:19世纪中国图画文本的视觉与叙事
2区 艺术学 0 ART Pub Date : 2018-10-08 DOI: 10.3998/ars.13441566.0048.005
Catherine Stuer
This essay analyzes the narrative structures of forms of graphic autobiography in premodern China. Focusing on three woodblockprinted picturetexts by the painter Zhang Bao (b. 1763), the poet Zhang Weiping (1780– 1859), and the official Linqing (1791– 1846), this study shows that these authors experimented with the representational and expressive affordances of landscape imagery and the printed book, to reconfigure the stories of their lives through a “language of vision.” By restructuring their life stories both formally and figuratively in spatial ways, these authors crafted multilayered but coherent images of their moral, intellectual, social, and personal identities, often against the grain of their personal and social predicaments. These imaginative interventions in the generic practices of selfrepresentation invite renewed attention to historical and cultural constructions of personal and collective identity, relations between landscape and subjecthood, and narrative structure in premodern and modern literary and pictorial texts. As narrative representation of the self in time, autobiographical writing is a privileged medium for the articulation of identity and subjecthood. This essay is an investigation of a form of autobiographical writing from China that could be thought of as graphic autobiography avant la lettre, in that it tells the life story of a single person, by substituting pictorial images for what otherwise would be the body of the narrative text. These pictorial life narratives, which seem unique in premodern forms of lifewriting worldwide, became a site of intense experimentation with new ways of imagining the self in nineteenthcentury China (fig. 1). This essay will show how these nineteenthcentury authors availed themselves, in striking ways, of the narrative and representational affordances of the pictorial image and the woodblockprinted book. In so doing, these authors expanded and reconfigured narrative models through a “language of vision,” in which landscape images and spatial figures stand central.1 As very public acts of selfimaging, these projects raise acute questions about the politics and performance of personal and collective identity in nineteenthcentury China. The strategic play with representational form in these publications frames such questions at the intersection of three lines of inquiry: the interrelation of landscape and subjecthood, temporal and spatial modes of selfapprehension and expression, and narrative structure in Chinese literary and pictorial texts. Figure 1. Above: Zhang Bao (b. 1763), Fancha tu (Images of the Floating Raft), frontispiece and first scene, 1822. Woodblockprinted book, ink on paper; 26.3 × 16.5 cm. The University of Chicago, Regenstein Library Below: Zhang Weiping (1780– 1859), Huajia xiantan (Leisurely Conversations at Sixty), frontispiece and first scene, 1840. Woodblockprinted book, ink on paper; 26.5 × 14.5 cm. The University of Chicago, Regenstein Library
本文分析了前现代中国图文自传形式的叙事结构。本研究以画家张宝(b.1763)、诗人张卫平(1780–1859)和官员临清(1791–1846)的三幅木版画为研究对象,表明这些作者尝试了风景意象和印刷书籍的具象和表达启示,通过“视觉语言”重新配置了他们的生活故事。“通过在形式上和形象上以空间的方式重组他们的生活故事,这些作者塑造了他们的道德、知识、社会和个人身份的多层次但连贯的图像,往往与他们的个人和社会困境背道而驰。这些对自我表现的一般实践的富有想象力的干预引起了人们对个人和集体身份的历史和文化建构、景观和主体之间的关系以及前现代和现代文学和绘画文本中的叙事结构的重新关注。作为自我在时间上的叙事表现,自传体写作是表达身份和主体性的一种特权媒介。这篇文章是对一种来自中国的自传体写作形式的调查,这种形式可以被认为是一种图形自传先锋,因为它“讲述”了一个人的生活故事,用图形图像代替了原本应该是叙事文本的主体。这些生动的生活叙事在世界各地的前现代生活写作形式中似乎是独一无二的,在19世纪的中国,它们成为了一个对想象自我的新方式进行激烈实验的场所(图1)。这篇文章将展示这些十九世纪的作家是如何以惊人的方式利用绘画图像和木版印刷书的叙事和具象启示的。在这样做的过程中,这些作者通过“视觉语言”扩展和重新配置了叙事模式,其中景观图像和空间人物是中心。1作为非常公开的自我想象行为,这些项目引发了对19世纪中国政治以及个人和集体身份表现的尖锐质疑。这些出版物中具有代表性形式的策略性游戏将这些问题框定在三条探究线的交叉点上:中国文学和图画文本中的景观与主体的相互关系、自我理解和表达的时空模式以及叙事结构。图1。上图:张宝(生于1763年),《浮筏图》,正面和第一幕,1822年。木版印刷书籍,纸上油墨;26.3×16.5厘米。芝加哥大学,雷根斯坦图书馆下图:张卫平(1780–1859),《花甲仙谭》(《六十岁的轻松对话》),正面和第一幕,1840年。木版印刷书籍,纸上油墨;26.5×14.5厘米。芝加哥大学雷根斯坦图书馆
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引用次数: 0
Reproducing Chinese Painting: Revised Histories, Illustration Strategies, and the Self-Positioning of Guohua Painters in the 1930s 再现中国画:修订历史、插图策略与20世纪30年代国华画家的自我定位
2区 艺术学 0 ART Pub Date : 2018-10-06 DOI: 10.3998/ARS.13441566.0048.003
J. Noth
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引用次数: 2
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ARS Orientalis
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