敦煌石窟世俗乐舞的图像指代
Pictorial Reference to Secular Music and Dance in Dunhuang Grottoes
周星 1关樱丽1
作者信息
摘要
作为符号的敦煌石窟世俗乐舞图像,具有双重的指代含义.借鉴运用皮尔斯符号学与潘诺夫斯基的图像学理论方法,将世俗乐舞图像分为类像符号与象征符号两类,前者是对现实生活乐舞的描绘再现,可被直观地看作为"乐舞艺术"的画像指代.而后者则服务于乐舞图像背后的文本内容,具有表意功能,图像进一步被引申为"娱乐、蛊惑、美好"等指代意义.透过图像的所指,在重拾古代丝路"现实生活乐舞形象"风貌的同时,挖掘出文本与图像符号所包含的文明互鉴、平等友善的精神内涵.
Abstract
As a symbol,the secular music and dance images of the Dunhuang Grottoes have double referential meanings.Drawing on the methods of iconography theory using C.S.Pierce's semiotics and Erwin Panofsky.The secular music and dance images are divided into two categories:icon symbols and symbol symbols.The former is a depiction and reproduction of music and dance in real life,which can be intuitively referred to as a portrait of"music and dance art".The latter serves the textual content behind the music and dance images and has an ideographic function.The images are further extended to refer to meanings such as"entertainment,bewitchment,and beauty".Through the reference of the image,while restoring the ancient Silk Road's"real life music and dance image"style,the"text"endows the image symbol with the spiritual connotation,and conveys the Silk Road spirit of cultural mutual learning,equality and friendliness.
关键词
敦煌石窟壁画/世俗乐舞/再现/图像指代/表意Key words
Dunhuang Grotto Frescoes/Secular Music and Dance/Reproduction/Image Reference/Ideographic引用本文复制引用
出版年
2024
NETL
NSTL
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