Research On Image Narrative Of Han Painting

Zhang yan yuan discussed the narrative function of painting in his book the origin and development of painting: “Biography,which has narrative function,cannot describe objects;Fu and praise,which can intone the beauty,but cannot depict the image.While images can do.” Through visual symbols,Han Painting—the epitome of the humanistic spirit of the Han dynasty,metaphorically express the cultural connotation of "death is like alive".In recent years,the "image turn" trend of thought in western humanities and social sciences rekindling the interest of scholars in iconography,people are increasingly concerned about the "visible mind" of the image itself,in this way,the study of spatial narrative of Han Painting has entered the field of vision of scholars.Han Painting is an art of concentration in time and space,which is different from the linear expression of textual narrative.It visualizes the well-known literary classics that originally stayed at the level of abstract perception by lines,colors,three-dimensional sculpture and other means,and organizes the images of different themes by referring the cosmic schema.In the end,it constructs a field with flowing meaning,as complex as a mesh weave,and initiates an ultimate dialogue about the universe and people in this dynamic field.Across the 400 years of Han civilization,the burials,which are buried deep underground,are all set in a vast time-space framework and tell the same theme about the transformation of life.In this paper,more than 6,500 Han Painting distributed in Shandong,Henan,Shaanxi,Jiangsu,Shanxi,Anhui,Sichuan and other places are taken as the research object.Based on the comparison of pictures and texts,representative image materials in various regions are taken as the case,on the basis of continuing the theoretical features and models of iconography itself,it is associated with narratology,linguistics,semiotics,rhetoric and other research methods to reveal the basic principles of the unit image narration,the juxtaposition features of the composite images narration and the spatial construction of the overall narration of tombs.Thus,it forms a research framework from point to line and from line to surface,and attempts to elevate the empirical description to the theoretical level.The dissertation consists of seven chapters.Introduction part mainly states the aim and significance of the research,research methods and the literature review as well as the unique viewpoints of the dissertation.Chapter One focuses on the cultural background of thick burial in the Han dynasty.Feudal ethics and the view of "immortal soul" are the fundamental reasons for the thick burial.Chapter Two starts from the perspective of the burial form and system,combing the development and evolution of the patriarchal temple system since the Shang and Zhou dynasties,and analyzing the external reasons for the prosperity of stone tombs of Han Dynasty Portraits.The policy of "the combination of tombs and temples",together with the escalating social productivity,eventually led to the expansion of the underground cemetery.In this process,the Han Painting also evolved from plane decoration to space art with narrative characteristics,and various themes eventually constructed a miniature universe in the underground world covering the three boundaries of heaven,wonderland and happy homeland.Chapter Three elaborates the "dynamic relationship" between images and texts in early Chinese art practice from the perspective of the intertextuality of "text-language",including the image-to-text simulation,such as the large number of historical stories carved in Han painting.It also includes the textual description of images,such as Song of Zhang Gong's Stele,and Lu Lingguang Dian Fu.Through the comparison between "word narration" and "image narration",it is shown that Han Painting is not limited to auxiliary literature or "picture history","but also contains some conscious choice,design and conception,which conceals history,value and idea".Han Painting is a typical spatial art,whose essential attribute is "spatial narration".If dissect the special space,Han Painting can be divided into three types according to the narrative level: unit image narration,compound image narration and overall space narration.In the following three chapters,the author will try to explain the mechanism of the image narration of Han Painting under the specific cultural background from the perspective of the narrative form and narrative mode of the images in Han Painting.Chapter Four takes "Return the Jade Intact to the State of Zhao" as an example to discuss the basic theory of unit image narration.From the Han Paintings that have been sorted out at present,many images based on historical stories are "mostly ready-made textual languages".Taking " Return the Jade Intact to the State of Zhao " as an example,through the comparative analysis of two different narrative forms of images and texts,we can find that Han painting has brought unique visual experience to the viewer by its unique composition,that is,fix "the most fertile moment" in the plot of the text.At the same time,the composition of the image is not completely bound by the lattices,and the change of details shows the artist's autonomy on the basis of text interpretation and his exploration of image narrative function.Chapter Five takes the "carriage and horse travel" picture on the lintel as an example,focusing on the analysis of how composite images integrate independent scenes by structural layout,and get the connection of composition meaning through the analogy between artistic elements,so as to form the modular features of artistic expression and the cumulative features of narrative expression.Chapter Six takes the Han tomb in Yi'nan as an example,standing at the height of the overall tomb narrative,comprehensively examines the application of spatial narrative in the overall tomb narrative from the perspective of spatial thinking.The conclusion further clarifies the significance of image narrative research in Han Painting from the perspectives of image interpretation,iconography and narratology.From the perspective of interpretation of Han paintings,image narrative research is a further deepening of image interpretation.From the perspective of the essence of iconography,the study of image narrative is a rethinking of the relationship between linguistic graphs.And from the perspective of narratology,image narration is the expansion of narratology theory itself.In a word,the image narrative research in spatial dimension is a new way to study Han Painting,it breaks through the traditional research paradigm of Han Painting and pushes image interpretation to a deeper level.At the same time,it breaks the single mode of structuralist narratology and expands the research field of narratology theory.