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历史上酷刑并非哪一种文化特有的现象,但是形诸图像的肉身苦难却有着明显的东西方传统差异。中国传统图画中对肉身痛苦的描绘集中体现于地狱经变图中对阴间刑罚的想象性描绘,表面传递的是善恶因果的道德训诫,本质上却是权力对身体的控制、折磨与剥夺所达致的恐吓。这些图画游离于文人画正宗之外,多属匠人的模式化之作,对身体残损并未产生视觉上的深刻体察。而西方绘画中极尽写实地描绘断头残躯的传统却由来已久,米开朗基罗、卡拉瓦乔、波提切利等巨匠都有此类作品存世。而且,除却制图技法上的巨大差异,西方绘画中对基督钉十字架所经受的极端痛苦的细致描绘,使肉身苦难成为可供凝视与反思的凭借,因“道成肉身”的信仰传统而与精神救赎之间建立了视觉的关联。
In history, torture is not a culture-specific phenomenon, but there are obvious differences between the East and the West in the physical suffering of various images. The depiction of incurable pain in Chinese traditional drawings is mainly embodied in the imaginary depiction of the penalty of the underworld in the altered map of Hell. The surface transmission is a moral warning of the cause and effect of good and evil, which is essentially the control, torture and deprivation of the body by power Intimidation. These pictures are free from the authenticity of the literati paintings. They are mostly modeled by craftsmen, and do not provide any visual insight into the body damage. However, there is a long history in Western painting that portrays the broken headless remnant. The works of Michelangelo, Caravaggio, Botticelli and others all have their works surviving. Moreover, apart from the vast differences in cartographic techniques, the extremely painful and detailed portrayal of the crucifixion of Christ in Western painting has made physical suffering a source for gaze and reflection, as a result of the belief tradition of “incarnation” A visual connection has been established between spiritual salvation.