瓷器上图像的信息解读方法——以荷兰阿姆斯特丹国家博物馆藏康熙五彩瓷人物故事图盘为例
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摘要
图像的信息解读是走进和认识一件器物的前提,尤其是对于叙事性故事图来说信息解读是否精准显得尤为关键。如果缺乏对瓷器上叙事性故事图中必要的历史文化背景知识的认知,仅仅通过表浅呈现的图像信息或单凭个人的生活经验来对故事情节加以判断,就很容易产生错误的判断。再之,如果缺乏对不同媒材中同一类题材的图像细节的比较,或缺乏在图像比对后产生的质疑中寻求新线索的能力,就会根据看似相近的表象图像特征,得出一个离题万里的结论。瓷器上的图像是瓷绘者和欣赏者之间的交流和沟通桥梁。而读图能力的差异和局限性可能会使观者对图像的解读与绘者对图像的真实表达产生一定距离,甚至是误读。因此,图像信息的解读方式是否合理显得尤为重要,这里将以荷兰阿姆斯特丹国家博物馆藏一件康熙五彩瓷人物故事图盘为例,用潘诺夫斯基的图像三步骤解读原理对瓷器上图像的信息解读方式进行一些探讨。
The information interpretation of the image is the premise of entering and recognizing an object, especially the accuracy of the information interpretation in the narrative story figure.If the knowledge of historical and cultural background is lacking in the narrative story on China, it is easy to make false judgment by judging the plot according to the image information presented in the table or by personal life experience alone.Moreover, if the lack of the comparison of the image details of the same subject in different media, or the lack of the ability to seek new clues in the query after the image comparison, the conclusion is drawn from a seemingly similar image feature.The images on the porcelain are the exchanges and Bridges between the porcelains and the appreciators. However, the differences and limitations of the reading ability may lead to the viewer's interpretation of the image and the actual expression of the image to a certain distance, even misreading.Therefore, it is particularly important to interpret the image information in a reasonable way. In this case, we will discuss the information interpretation of the image on China by using panofsky's threestep interpretation of the image of kangxi wucai porcelain figure chart disk.
The information interpretation of the image is the premise of entering and recognizing an object, especially the accuracy of the information interpretation in the narrative story figure.If the knowledge of historical and cultural background is lacking in the narrative story on China, it is easy to make false judgment by judging the plot according to the image information presented in the table or by personal life experience alone.Moreover, if the lack of the comparison of the image details of the same subject in different media, or the lack of the ability to seek new clues in the query after the image comparison, the conclusion is drawn from a seemingly similar image feature.The images on the porcelain are the exchanges and Bridges between the porcelains and the appreciators. However, the differences and limitations of the reading ability may lead to the viewer's interpretation of the image and the actual expression of the image to a certain distance, even misreading.Therefore, it is particularly important to interpret the image information in a reasonable way. In this case, we will discuss the information interpretation of the image on China by using panofsky's threestep interpretation of the image of kangxi wucai porcelain figure chart disk.
引文
[1]倪亦斌《从潘诺夫斯基的图像学理论看中国古代叙事画释读的方法论问题》一文载自中国社会科学院历史研究所文化史研究室编《形象史学研究》人民出版社2015上半年第4页
[2][清]焦秉贞绘张立华注释《康熙御制耕织诗图》合肥安徽人民出版社2012.12第73页
[3]方李莉《中国陶瓷史-下卷》济南,齐鲁书社,2013.12第925页
[4]倪亦斌《看图说瓷》中华书局北京2008.1第26页
[5]Christian J A Jorg《Chinese Ceramics in the Collection of the Rijksmuseum,Amsterdam--The Ming and Qing Dynasties(荷兰阿姆斯特丹国家博物馆藏中国明清瓷器)》Philip publishers Limited 1997第158页
(1)倪亦斌《从潘诺夫斯基的图像学理论看中国古代叙事画释读的方法论问题》一文载自中国社会科学院历史研究所文化史研究室编《形象史学研究》人民出版社2015上半年第4页
(2)“Decorated in famile verte enamels with a fenced garden,a large garden rock,two trees a man and a boy besides a large jar with a ladle.Another boy has climbed into the tree,leaving his shoes and a broom on the ground.Over a branch hangs a bucket on a cord held by the boy on the ground”.选自:Christian J A Jorg《Chinese Ceramics in the Collection of the Rijksmuseum,Amsterdam--The Ming and Qing Dynasties(荷兰阿姆斯特丹国家博物馆藏中国明清瓷器)》1997 Philip publishers Limited第P158页
(3)“This nicely and carefully painted scene probably depicts the gathering of mulberry leaves for feeding silkworm同上第P158页
(4)方李莉《中国陶瓷史-下卷》济南,齐鲁书社,2013.12第925页
(5)倪亦斌《看图说瓷》中华书局北京2008.1第26页
(6)[清]焦秉贞绘张立华注释《康熙御制耕织诗图》合肥,安徽人民出版社,2012.12第72页
(7)[清]焦秉贞绘张立华注释《康熙御制耕织诗图》合肥,安徽人民出版社,2012.12第72页
(8)倪亦斌《从潘诺夫斯基的图像学理论看中国古代叙事画释读的方法论问题》一文载自中国社会科学院历史研究所文化史研究室编《形象史学研究》人民出版社2015上半年第4页
(9)“Scenes of agricultural and manufacturing activities,extensively illustrated on scrolls and in sets of Chinese woodblock prints,were very popular in China and were also bought as souvenirs by Westerners……The scene depicted here will also have been based on a woodblock print and this saucer probably belonged to a set which included other stages in silk production.选自:Christian J A Jorg《Chinese Ceramics in the Collection of the Rijksmuseum,Amsterdam--The Ming and Qing Dynasties(荷兰阿姆斯特丹国家博物馆藏中国明清瓷器)》1997 Philip publishers Limited第P158页
(10)倪亦斌《看图说瓷》中华书局北京2008.1第26页
[2][清]焦秉贞绘张立华注释《康熙御制耕织诗图》合肥安徽人民出版社2012.12第73页
[3]方李莉《中国陶瓷史-下卷》济南,齐鲁书社,2013.12第925页
[4]倪亦斌《看图说瓷》中华书局北京2008.1第26页
[5]Christian J A Jorg《Chinese Ceramics in the Collection of the Rijksmuseum,Amsterdam--The Ming and Qing Dynasties(荷兰阿姆斯特丹国家博物馆藏中国明清瓷器)》Philip publishers Limited 1997第158页
(1)倪亦斌《从潘诺夫斯基的图像学理论看中国古代叙事画释读的方法论问题》一文载自中国社会科学院历史研究所文化史研究室编《形象史学研究》人民出版社2015上半年第4页
(2)“Decorated in famile verte enamels with a fenced garden,a large garden rock,two trees a man and a boy besides a large jar with a ladle.Another boy has climbed into the tree,leaving his shoes and a broom on the ground.Over a branch hangs a bucket on a cord held by the boy on the ground”.选自:Christian J A Jorg《Chinese Ceramics in the Collection of the Rijksmuseum,Amsterdam--The Ming and Qing Dynasties(荷兰阿姆斯特丹国家博物馆藏中国明清瓷器)》1997 Philip publishers Limited第P158页
(3)“This nicely and carefully painted scene probably depicts the gathering of mulberry leaves for feeding silkworm同上第P158页
(4)方李莉《中国陶瓷史-下卷》济南,齐鲁书社,2013.12第925页
(5)倪亦斌《看图说瓷》中华书局北京2008.1第26页
(6)[清]焦秉贞绘张立华注释《康熙御制耕织诗图》合肥,安徽人民出版社,2012.12第72页
(7)[清]焦秉贞绘张立华注释《康熙御制耕织诗图》合肥,安徽人民出版社,2012.12第72页
(8)倪亦斌《从潘诺夫斯基的图像学理论看中国古代叙事画释读的方法论问题》一文载自中国社会科学院历史研究所文化史研究室编《形象史学研究》人民出版社2015上半年第4页
(9)“Scenes of agricultural and manufacturing activities,extensively illustrated on scrolls and in sets of Chinese woodblock prints,were very popular in China and were also bought as souvenirs by Westerners……The scene depicted here will also have been based on a woodblock print and this saucer probably belonged to a set which included other stages in silk production.选自:Christian J A Jorg《Chinese Ceramics in the Collection of the Rijksmuseum,Amsterdam--The Ming and Qing Dynasties(荷兰阿姆斯特丹国家博物馆藏中国明清瓷器)》1997 Philip publishers Limited第P158页
(10)倪亦斌《看图说瓷》中华书局北京2008.1第26页