| 摘要: |
| 【目的】传统实景图像的图绘空间与真实景观之间往往存在错位，对二者错位所反映的作画者主体性的研究可揭示图像所隐含的视觉模式与观念认知，窥探某一特定风景在地方的角色定位与意义映射。【方法】以京口三山为例，从视点选择、构图模式及空间要素的组织结构3个方面对明中晚期京口三山图像的视觉空间展开探索。【结果】发现当地士人与外来画家两类群体在“景-图”转译方式上的群际差异与群内趋同：张莱、杨琬等当地士人在构图模式与空间要素的组织方面存在相似性，通过中心式构图与山城一体的结构组织，强化了京口三山在镇江府境山水总势中的统领地位，使京口三山成为地方认同的具象化演绎；钱榖、宋懋晋等外来画家在视点、构图与空间要素的选择方面存在相似性，通过视点转移、构图反叛与府城消隐等手段解构山城关系，凸显京口三山作为纯粹游赏之地的意义。【结论】揭示了明中晚期京口三山审美形象的建构是地方自我审视与外界他者想象的共同作用，丰富了景观历史研究领域对传统风景形成过程的认识，为实景图像分析提供方法参考。 |
| 关键词: 风景园林 视觉空间 地方叙事 他者想象 京口三山 |
| DOI：10.12409/j.fjyl.202211240656 |
| 分类号:TU986 |
| 基金项目:国家社会科学基金“中华学术外译项目《江南园林论》”（编号 17WYS003）；上海市浦江人才计划项目“式与度：江南传统园林弹性景观控制方法及当代应用研究”（编号 2020PJC021） |
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| Research on Visual Space in Images of the “Three Hills of Jingkou” in the Middle and Late Ming Dynasty |
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YAN Aibin, ZHU Shiyi
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East China University of Science and Technology
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| Abstract: |
| [Objective] In the research on landscape history, traditional landscape paintings or geographic maps are widely used as historical materials to assist the restoration of historical sites, but there is always a mismatch between the pictorial space and the real space. This mismatch is caused by the spatial awareness and subjective goal of painters. The research on the subjectivity of painters can reveal why images selectively depict the real space and hence deduce the numerous meanings of the painted landscape. [Methods] Based on the analysis of pertinent texts (such as inscriptions, travel notes, and local gazetteers), this research combines spatial analysis of architecture and image analysis methods used by art historians to analyze the visual space of images. The concept of visual space was initially proposed by art historian Wu Hong. This method considers space to be the connotation and means of visual perception, which may disclose the creative expression of three-dimensional real space in ancient China and the underlying spatial cognition. Taking the “Three Hills of Jingkou” as the research object, this research analyzes the visual space in images of the “Three Hills of Jingkou” in the middle and late Ming Dynasty to demonstrate the disparities in spatial cognition between local and non-local people. The analysis on the visual space of the aforesaid images involves the three components of viewpoint selection, composition pattern, and spatial element organization structure. The principal spatial elements include Jinshan Hill, Jiaoshan Hill, Beigu Hill, Xijin Ferry, and Zhenjiang City. [Results] The “Three Hills of Jingkou” is a scenic concept that arose during the Zhengde Period of Ming Dynasty. The “three hills” refer to Jinshan Hill, Jiaoshan Hill and Beigu Hill, located near the confluence of the Grand Canal and the Yangtze River. The creators of numerous images of the “Three Hills of Jingkou” in the middle and late Ming Dynasty are mainly dominated by the two groups of local scholars and non-local tourists. By comparing the visual space in numerous images of the “Three Hills of Jingkou”, the research discovers that both local and non-local painters selectively depict some of the real space, and there exist inter-group differences and intra-group convergences of the methods for “landscape-image” translation between local scholars and non-local tourists. 1) The viewpoint analysis reveals that local scholars depict the “Three Hills of Jingkou” from the perspective of Zhenjiang City, proclaiming the local attribution of the three hills; however, non-local tourists choose Xijin Ferry, a north-south traffic hub, as the vantage point for image creation. 2) The composition analysis reveals that local scholars choose the central composition to emphasize the geographical imagination centered on Beigu Hill, whereas non-local tourists choose the offset composition to guide the viewer’s visual focus away from Beigu Hill to a freer state of sightseeing, and thus obtain the literati’s interest in spiritual travel. 3) According to the analysis of the organizational structure of the three hills, local scholars demonstrate the real landscape order through continuous deep space, whereas non-local tourists deconstruct the existing landscape order from the image level through the multi-layer parallel structure to adapt to the visual experience of Xijin Ferry. 4) According to the analysis of the organizational structure between the hills and Zhenjiang City, local scholars emphasize the importance of the “Three Hills of Jingkou” in the city’s ideal spatial order by presenting the intimate relationship between the hills and the city, whilst non-local tourists deconstruct the connection between the two by concealing the city. In conclusion, Zhenjiang scholars such as Zhang Lai integrate the three hills and strengthen their dominant position in the overall landscape of Zhenjiang Prefecture through centralized composition and the organization of the hill-city relationship, thereby making the hills the embodiment of local identity and gradually constructing a local self-review system commensurate with the rising economic and cultural status of Zhenjiang. On the other hand, non-local tourists such as Qian Gu and Bian Wenyu deconstruct the hill-city relationship by viewpoint shifting, composition alteration, and city concealment, thereby emphasizing the significance of the “Three Hills of Jingkou” as purely scenic locations to reflect their identity as tourists. [Conclusion] It can be seen from various images of the “Three Hills of Jingkou” that different groups endow this local landscape with different spatial imaginations. The analysis of the visual space in the images reveals that the formation of the “Three Hills of Jingkou” is the result of a combination of local and non-local forces. The distinction between self-review and others’ imagination can further convert the landscape into a field of various symbolic meanings. The exploration of visual space in images can improve the dependability of idea research by intuitively revealing the spatial cognition of different groups on the same landscape, and may serve as a methodological reference for landscape history research. |
| Key words: landscape architecture visual space local narration others’ imagination “Three Hills of Jingkou” |
