仇英《蜀川佳丽图》山水叙事研究
Landscape Narrative of Qiu Ying’s “Journey to Shu”

在静止的画面上，叙事何以可能？米克·巴尔认为观看的视角和视线共同完成了画面的叙事。沃尔夫冈·肯普通过罗马圣萨比娜教堂大门上的浮雕发现，叙事，哪怕是关于起源的叙事，很少单独出现也很少是“原创性”的。中国的山水画中人物被称为“点景”，在“山大于人”的画面比例中，想要既不喧宾夺主又保证完整度的情况下不突兀的完成叙事，该如何巧设？因此，本文将采用比较研究法和图像研究法，对选取的仇英《蜀川佳丽图》进行分析研究，探讨此画是如何通过人物动线指示路径、以色彩、山径和小桥为代表的标志性事物、共同的阅读记忆，及卷尾题诗时间的暗示，在巴蜀山水的风景中完成了叙事。
How can narration be possible on a still screen? Mick Bale believes that the perspective and gaze of the viewer work together to complete the narrative of the image. Wolfgang Ken discovered through the reliefs on the entrance of the Church of Saint Sabina in Rome that even narratives about origins rarely appear alone and are rarely “original”. In Chinese landscape painting, characters are referred to as “point scenery”. In the proportion of “mountains outweigh people”, how can one cleverly create a narrative that is not overwhelming but also complete without being abrupt? Therefore, this article will use comparative research and image research methods to analyze and study the selected Qiu Ying’s “Journey to Shu”, exploring how this painting completes the narrative in the scenery of Bashu mountains and rivers through the guidance of character movements, iconic things represented by colors, mountain paths, and small bridges, shared reading memory, and the suggestion of time in the poem at the end.