The Smooth and Striated Spaces of Hiroshige

安藤廣重繪畫中的平滑空間與條紋空間

10.6184/TKR201406-5

Mark Donoghue

領域 ； 條紋 ； 平滑 ； 空間 ； 日本 ； 藝術 ； territory ； striated ； smooth ； space ； Japan ； art

Tamkang Review

44卷2期（2014 / 06 / 01）

77 - 96

英文

本篇論文以德勒茲與瓜達希在《千重台》中提出之領域、平滑空間以及條紋空間等概念，來檢視日本浮世繪畫家安藤廣重（1797-1858）作品中的繪畫空間。安藤是日本最著名的藝術家之一，其作品生動活潑的構圖是其持續受人喜愛的原因。本文將繪畫空間視為從特定藝術中域萌生的領域，並以此檢視安藤作品構圖中的空間表現，特別是〈江戶名所百景〉中的圖像。安藤的作品構圖使用了多種藝術傳統中描繪空間的技巧，例如「浮地」、「等角投影」以及「直線透視法」等等。每種技巧都是以一種統整原則來切割、調控或組織空間的方法；安藤在畫作中結合了這些技巧，但一起使用時，各種技法並不相調合，所呈現的結果因而並非一統整的繪畫空間。作者認為如此一來，圖像的條紋空間產生了裂面，顯露出做為構圖基礎的平滑空間；由此所產生的圖像張力讓觀畫者仿如被拉進一個可觸摸的繪畫空間，而此空間則因而碎裂開來並再度轉變。作者認為，這種持續質變的過程，正是安藤作品構圖動能的來源，也是其作品魅力持續不墜的原因。

The following paper examines the pictorial space in the work of the Japanese print artist Utagawa Hiroshige (1797-1858) with regard to the concepts of territory, and striated and smooth space in Deleuze and Guattari's A Thousand Plateaus. Hiroshige is one of Japan's best known artists, and I believe his enduring appeal lies in part with his dynamic and exciting compositions. It is the depiction space in Hiroshige's compositions, in particular images from the ＂One Hundred Views of Edo＂ series, that is examined here. The notion of pictorial space as a territory generated out of a particular artistic milieu is suggested as a means of examining Hiroshige's work. These compositions are indebted to various techniques for depicting space rooted in different milieus of art practice. These techniques are broadly categorized as the ＂floating field,＂ ＂axonometric projection＂ and ＂linear perspective.＂ Each technique is a striation or ordering of space according to a unifying principle. Hiroshige is able to combine these techniques, but when used in combination they are irreconcilable and do not create a holistic pictorial space. I contend that this fractures the striation of space in the image and reveals the smooth surface space that underpins the image's construction. The tension this creates in the image ensures our engagement with the work as we are constantly drawn into a tangible pictorial space only for it to shatter and reform again. I am suggesting it is this form of anamorphism that lies at the heart of Hiroshige's compositional dynamism and contributes to his enduring appeal.

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