在艺术馆中，观众是如何观赏一副画作的？
虽然我们倾向于将画作视为一个整体，但这实际上并不能概括我们观赏画作时的过程：我们可能会顺着一条脉络，试着解读画作中隐含的叙事；可能会将目光停留在一处，试图观测到更多的细节；也可能会基于画作本身的构成关系，在脑中联想并重现出独特的动态情景。
画作本身是二维空间的体现，而画作和人眼的视界形成了有趣的互动，为原本的空间增添了一种新的维度。这也是为什么观众们会享受欣赏画作的过程；甚至不仅仅局限于此，对自然风景、天穹星空的欣赏过程也是同一个道理。
How Do Audiences Engage with a Painting in an Art Museum?
While we often perceive a painting as a unified whole, this perspective fails to capture the nuanced process of viewing. Audiences might trace a narrative thread to decode hidden stories within the artwork, linger on specific details to absorb intricate elements or reconstruct dynamic scenarios in their minds based on the painting’s compositional relationships.
A painting, though inherently a two-dimensional space, interacts dynamically with the viewer’s visual field, adding a new dimension to spatial perception. This interplay explains why audiences find such joy in observing paintings—and why similar principles apply to appreciating natural landscapes or the celestial expanse of the night sky. The act of viewing transcends mere observation, merging the static artwork with the viewer’s imaginative and perceptual engagement.
From 《空间的美术史》
在中国绘画中，画家经常会通过“经营位置”的方法设立画面的基本空间结构，随即将原来的叙事文学解体为单个的人物、事件和情节，再将这些“零件”重新组合入他所设定的基本空间结构；
当这些人物和事件被画在特定的位置上，它们的空间关系进一步引导着画家去创造新的叙事联系。
In Chinese painting, artists often establish the fundamental spatial framework of a composition through the method of "compositional arrangement" (jingying weizhi). This involves deconstructing original narrative literature into isolated figures, events, and plot elements, then reassembling these components within the predefined spatial structure.
When these figures and events are positioned at specific locations, their spatial relationships further guide the artist in creating new narrative connections. For instance, the deliberate placement of elements in handscrolls—a traditional format—allows viewers to "unroll" stories scene by scene, where spatial organization directly shapes temporal and thematic progression. This technique transforms static imagery into a dynamic interplay of visual and narrative layers, reflecting how Chinese painters harmonize form, space, and storytelling.
Take Away
可以使用壁画（prehistoric rock art）作为作品载体，通过排列不同图像元素的位置和安排整幅壁画的构图，来进行二维空间叙事。
The prehistoric rock art can be used as a medium for storytelling in two-dimensional space by arranging different image elements and composing the overall mural.
图一（左）展示了空间叙事的整体构思：