摘要
基于视觉修辞的理论视野,揭示《点石斋画报》如何借助照相石印技术,实现有开拓意义的视觉图像表征范式,塑造晚清大众化受众群体的视觉经验。《点石斋画报》利用多层次设计的围观者视角形成复式视觉焦点结构,建构了想象中的视觉奇观。画面中的拟态视觉焦点与画面外的现实视觉焦点形成呼应和联动,创造出受众在场的代入视角,形成虚拟在场的现实感,通过专注细节、近距离的感官知觉实现全景式的旁观者视角,带动了晚清现代性体验的媒介转型。
From the theoretical perspective of visual rhetoric,this paper reveals how Dianshizhai Pictorial utilized the photo-lithographic technology to achieve a pioneering visual image representation paradigm and shaped the visual experience of the mass audience in the late Qing Dynasty.Dianshizhai Pictorial employed a multi-level design of onlooker perspectives to form a complex visual focus structure,constructing an imagined visual spectacle.The simulated visual focus within the picture and the real visual focus outside the picture corresponded and interacted,creating an immersive perspective that made the audience feel present,generating a sense of virtual presence.By focusing on details and close-range sensory perception,it achieved a panoramic perspective of the onlooker,driving the media transformation of modernity experience in the late Qing Dynasty.
作者
陈晓洁
CHEN Xiaojie(School of Literature,University of Jinan,Jinan 250022,China)
出处
《中北大学学报(社会科学版)》
2025年第5期149-156,共8页
Journal of North University of China:Social Science Edition
关键词
《点石斋画报》
照相石印技术
视觉叙事
图像传播
Dianshizhai Pictorial
photo-lithography technology
visual narrative
image propagation
