樊圻(1616-1694 之后)：十七世纪南京的空间形塑与视觉符号学-Richard Vinograd.pdfVIP

Richard Vinograd: Fan Ch’i (1616-after 1694) Place-Making and the Semiotics of Sight in Seventeenth-Century Nanching Fan Ch’i (1616-after 1694): Place-Making and the Semiotics of Sight in Seventeenth-Century Nanching * Richard Vinograd Abstract ：In his own time the Nanching-based painter Fan Ch’i (1616-after 1694) was connected with narratives of reclusion and loyalism. Later art-historical narratives linked him with the Eight Chinling Masters, where he was much overshadowed by the reputation of Kung Hsien, and with the idiom of the fantastic landscape. The present account emphasizes instead Fan Ch’i’s engagement with several aspects of urban visual culture. Fan’s adaptations of imagery and semiotic structures from a print-illustrated guidebook to notable Nanching sites, Chu Chih-fan’s Chin-ling t’u-yung of 1623, is especially noteworthy. While the print images engaged in specific pictorial and textual place-making, Fan’s adaptations for the most part ut ilized more generic structures of sites, localities, and experiences, creating small embedded narratives of urban sightseeing, reminiscence, travel, commerce, and residence. To these Fan added specific effects of visual perception, sometimes conveying qualities of Northern Sung and European visualities, but more often coded as distanced sight that could serve as a sign of historical, emotional, and possessive distance, congenial to loyalist modes of nostalgia for a lost era. In Fan’s early Landscape handscroll of 1645, painted in the year of Nanching’s surrender, multiple references to famous local sites are charged with effects of unpredictable sigh