影像绘画是一种通过绘画模拟影像特性的视觉表现方式，最早由里希特的“单色绘 画”系列将其定义。自二十世纪九十年代起，中国影像绘画受到西方后现代主义对空间 美学分析的影响，其中有关“角落”情节的图像叙事特征逐渐浮现，并成为一种独特的 图像化社会表达。它在形式上用来指代被边缘化、被忽略或遗忘的空间局部，展现的情 景是受限的建筑与空间划分下的微观事件，暗示周围环境所构造出的障碍和局限。 本文的主体内容共分为五个章节:第一章阐述当代摄影为何忠实于记录“角落”情 节的缘由，以及空间诗学的观念诱因。第二章讨论了影像绘画早期对色彩的消解，以及 艺术家表达“角落化”特征的情感氛围，并通过质感的区分和塑造来隐喻形象的多重内 涵。第三章着眼于“角落”作为空间的演绎独特属性，从最初的图像实验到当下社会转 型背景下的文化象征，探索了艺术家如何通过这一局部元素来延展出新的符号意义和批 判性思考。第四章梳理“角落”情节在叙事中对集体记忆的唤起和不同的叙事表达类型。 第五章结合个人创作的实践路径，论述“角落”情节和影像特性在个人作品中的联系和 运用。 本文梳理了二十世纪九十年代以来，中国当代影像绘画“角落”情节的图像化社会 面貌，发掘“角落”情节的叙事中隐含的人文关怀，从形式语言的变化特征，到图像叙 事的鲜明类型，进而对中国影像绘画中具有“角落”情节的作品实践方式做出深入阐述 与归纳。并结合这种图像叙事类型和创作办法，为个人艺术创作实践提供启示和运用。

Image painting is a visual expression method that simulates the characteristics of images through painting, first defined by Richter's "monochromatic painting" series. Since the 1990s, Chinese visual painting has been influenced by Western postmodernism's analysis of spatial aesthetics, in which the narrative features of the "corner" plot gradually emerged and became a unique visual social expression. It is formally used to refer to marginalized, overlooked, or forgotten parts of a space, presenting micro events within limited building and spatial divisions, implying obstacles and limitations constructed by the surrounding environment. The main content of this article is divided into five chapters: Chapter One elaborates on the reasons why contemporary photography is faithful to recording "corner" plots, as well as the conceptual incentives of spatial poetics. Chapter 2 discusses the early dissolution of color in image painting, as well as the emotional atmosphere of artists expressing "cornerification" characteristics, and metaphorically expresses the multiple connotations of images through the differentiation and shaping of texture. Chapter 3 focuses on the unique attribute of "corners" as a spatial interpretation, exploring how artists can extend new symbolic meanings and critical thinking through this local element, from the initial image experiment to cultural symbols in the context of current social transformation. Chapter 4 outlines the awakening of collective memory and different types of narrative expression in the narrative of "corner" plots. Chapter 5 combines the practical path of personal creation to discuss the connection and application of "corner" plot and visual characteristics in personal works. This article reviews the visual social landscape of the "corner" plot in contemporary Chinese image painting since the 1990s, explores the hidden humanistic care in the narrative of the "corner" plot, from the changing characteristics of formal language to the distinct types of image narrative, and further elaborates and summarizes the practical methods of works with "corner" plots in Chinese image painting. And combining this type of image narrative and creative methods, provide inspiration and application for personal artistic creation practice.