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我们从图像学的角度可以发现,葛震的作品中几乎都有一个虚拟的场景(包括人、景、物),进而又创造性地虚拟了一些叙事性的不完整情节(抑或称它为故事残片),如:大鸟被禁锢在笼子里,少年天使折翅在荒原,鸟、人共舞天地间,折翅的天使或在遍布芦苇的泥塘里歌唱,或在笼子边做着白日梦,等等。这种虚拟又决非凭空捏造,常常是与人类记忆中的“原型”有着千丝万缕的联系。例如“折翅天使”的“原型”就有三个来源:
From the perspective of imagery, we can see that almost all of Ge Zhen’s works have a virtual scene (including people, scenes and objects), which in turn creatively fictitious narrative incomplete episodes (or call it a story fragment ), Such as: the big bird is confined in cages, juvenile angels Wings in the wilderness, birds, people dance between heaven and earth, wings of angels or singing in the reed-covered muddy pond, or daydreaming in the cage, and many more. This kind of fiction is by no means a fictional fabrication, and is often inextricably linked to “prototype ” in human memory. For example, “Protector Angel ” “Prototype ” has three sources: