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[故宫博物院｜郭熙《窠石平远图》与“三远”](https:\u002F\u002Fwww.dpm.org.cn\u002Fcollection\u002Fpaint\u002F228299.html)\n- [The Metropolitan Museum of Art｜Chinese Handscrolls](https:\u002F\u002Fwww.metmuseum.org\u002Fessays\u002Fchinese-handscrolls)\n- [UNESCO Intangible Cultural Heritage｜Guqin and its Music](https:\u002F\u002Fich.unesco.org\u002Fen\u002FRL\u002Fguqin-and-its-music-00061)\n- [Smithsonian National Museum of Asian Art｜Scientific Studies of Pigments in Chinese Paintings](https:\u002F\u002Fasia.si.edu\u002Fresearch\u002Fpublications\u002Fscientific-studies-of-pigments-in-chinese-paintings\u002F)\n- [人民日报 \u002F 辽宁省博物馆专家｜《千年瑞鹤，一图传世》](https:\u002F\u002Fpaper.people.com.cn\u002Frmrb\u002Fpad\u002Fcontent_30141428.html)\n- [故宫研究院｜王希孟与《千里江山图卷》讲座纪要](https:\u002F\u002Fwww.dpm.org.cn\u002Fresearch_institute\u002Factivity\u002Fdetail\u002F256569.html)\n- [陈丹青《局部》第一季 EP01｜《千里江山图》](https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=wSHc9M6j9vI)\n\n## 本站长文\n\n- 《手卷不是一扇窗》\n- 《一幅画可以署一个名字》\n- 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展卷人","他站在今天，以研究者的克制打开长卷，也把观看的位置留给观众。","展卷人站在今天。他不是旁白，也不承担替观众解释古代的职责；他是整部舞剧连接今日观看与古代想象的戏剧支点。\n\n展卷人是一位当代故宫博物院研究员。《千里江山图》藏于故宫，因此，他的动作首先遵循文博工作的分寸：小、准、慎，接近原作之前总有停顿。谢素豪要同时维持两种状态——一边是研究者面对文物的克制，一边是一个现代人逐渐向希孟产生的情感靠近。\n\n从舞剧结构看，他的当代身体与希孟的古代身体彼此对照，使九百多年的时间差成为可以被看见的舞台关系。他不替观众解释一切；他把卷打开，也把观看的位置让出来。","谢素豪毕业于北京舞蹈学院中国古典舞系，现为中国东方演艺集团舞者。除了舞蹈作品，他也参与音乐、舞蹈与戏剧表演交融的跨界创作，包括音乐剧场《我们的爱情故事》，以及《中国的脚步》《国色》《东方之爱》《春江花月夜》等。曾获第九届“桃李杯”舞蹈大赛优秀表演奖。自《只此青绿》首演以来，他一直是“展卷人”的代表性主演之一，在文博工作的谨慎尺度与一个现代人向希孟逐渐靠近的情感之间保持分寸。","谢素豪肖像","优先清晰肖像，以及展卷人面对长卷、手套、展阅或研究行为的剧照。画面应显示现代研究者的专业身份及其与古代画卷的距离，不要把他处理成古代文人。",{"src":268,"alt":288},"2026-08-17T17:21:29.579Z","2026-08-09T17:55:22.219Z",[294],{"field":104,"targetEntryId":216,"position":106},{"entryId":296,"organizationId":6,"programId":7,"siteId":5,"localeSpaceId":8,"contentType":256,"slug":297,"title":298,"status":23,"data":299,"revision":272,"publishedAt":309,"createdAt":310,"updatedAt":275,"relations":311},"c5695853-7ae4-494a-9cd9-8065a81fb0c7","zhang-han","张翰",{"entity_type":260,"group":261,"order":300,"layout":262,"profile_status":23,"profile_url":301,"name":298,"role":302,"quote":303,"body":304,"biography":305,"image_asset_path":268,"portraitAssetId":268,"image_alt":306,"image_guidance":307,"image":308},3,"\u002Fartists\u002Fzhang-han","饰 希孟","史料没有替演员写好人物，他用排练的时间与孤独，靠近十八岁的希孟。","关于希孟，可靠史料只留下很短的几行。对演员来说，空白不是自由发挥的许可证，而是一种更苛刻的要求：没有传记替他解释人物，他只能从“一个十八岁的画家怎样工作”开始靠近。\n\n张翰为这个角色查阅资料、购买书籍，也把排练厅变成一段只有自己知道的时间。他曾经常独自留到深夜十一二点。不是为了模拟一个九百多年前的夜晚——那样的夜晚已经无法复原——而是让疲惫、安静与长时间独处真正改变自己的状态，去体会一个十八岁年轻人在近半年的密集创作中，可能承受过的专注与孤独。\n\n他给自己的标准始终很朴素：要让观众先相信眼前是一个画家，而不是一个正在展示技巧的舞者。于是，执笔怎样开始，躯干怎样靠近案面，动作何时中断，长时间专注怎样改变呼吸与速度，都比炫技更重要。\n\n史料没有替演员写好人物。张翰只能用时间靠近时间，用自己的孤独，去触碰一个已经无从知晓的孤独。","张翰毕业于北京舞蹈学院中国民族民间舞系，现为中国东方演艺集团舞者，是《只此青绿》中希孟最具代表性的主演之一。他曾在韩国首尔国际舞蹈比赛、北京国际芭蕾舞暨编舞比赛以及“桃李杯”等专业赛事与展演中获奖，代表舞台作品包括《逐影寻声》《醉忆生声》《破茧》《蝶恋花》《念去去》《原心》《安吉利诺》等。在《只此青绿》中，他从“做画”这一具体行动建立希孟，让少年感、专注与创作压力从动作任务中生长，而不是依靠后世传奇替人物填空。","张翰肖像","优先清晰肖像，以及希孟与笔、画案、独处或创作状态相关的剧照或视频帧。比起腾跃大动作，更需要让观众相信这是画家；不要使用无法辨认角色的群舞远景。",{"src":268,"alt":306},"2026-08-17T17:21:29.261Z","2026-08-09T17:55:21.969Z",[312],{"field":104,"targetEntryId":216,"position":106},{"entryId":314,"organizationId":6,"programId":7,"siteId":5,"localeSpaceId":8,"contentType":256,"slug":315,"title":316,"status":23,"data":317,"revision":272,"publishedAt":330,"createdAt":331,"updatedAt":275,"relations":332},"e23c9096-4828-480a-ab44-9384cfe0ee84","zhou-liya-han-zhen","周莉亚 & 韩真",{"entity_type":318,"group":319,"order":320,"layout":321,"profile_status":23,"profile_url":322,"name":316,"role":323,"quote":324,"body":325,"biography":326,"image_asset_path":268,"portraitAssetId":268,"image_alt":327,"image_guidance":328,"image":329},"creative-partnership","creative-team",1,"duo","\u002Fartists\u002Fzhou-liya-han-zhen","总编导 · 长期创作搭档","故事只是入口。她们让北宋绘画的尺度、秩序与观看方式，成为今天的舞台时间。","《只此青绿》被命名为“舞蹈诗剧”，不是为了把诗句搬上舞台，而是因为它不愿让线性情节决定一切。希孟与展卷人像两条相隔九百多年的线，七个篇章在故事、画境与工艺之间展开；群舞又让人物、材料与山势不断彼此转化。\n\n对周莉亚与韩真来说，故事是入口，不是终点。创作越往深处，她们越关心时间与空间本身：一个今天的人怎样靠近一位只剩数行史料的少年；一卷画怎样从材料、劳动与观看中生长出来；一个身体怎样在舞台上获得山的尺度。\n\n于是，舞蹈不再是画作的插图，画也不只是故事的背景。人物关系把观众带进作品，身体、画境与时间又把作品重新打开。所谓“宋意”，不是复原一套宋代舞蹈，而是让北宋绘画的尺度、秩序与观看方式，在今天成为舞台的时间、空间与群体关系。","周莉亚、韩真均毕业于北京舞蹈学院编导系，是中国当代舞剧领域长期合作的导演、编舞家，现任职于中国东方演艺集团，并持续参与舞蹈教育与剧院艺术工作。两人长期合作，共同创作《沙湾往事》《杜甫》《永不消逝的电波》《花木兰》《只此青绿》《咏春》等舞剧。其作品多次获得中国文化艺术政府奖“文华大奖”、中国舞蹈“荷花奖”舞剧奖等重要专业奖项。她们的长期实践集中于一个问题：如何让中国历史、文学与视觉艺术进入当代剧场，同时仍以身体、时间和空间作为舞蹈的第一语言。","周莉亚与韩真双人肖像","优先双人正式肖像，其次为两人在排练厅或剧场共同工作的真实影像。画面应体现共同创作，不要拆成两个独立名人卡；避免使用与本剧无关的红毯或领奖图。",{"src":268,"alt":327},"2026-08-17T17:21:28.653Z","2026-08-09T17:55:21.446Z",[333],{"field":104,"targetEntryId":216,"position":106},{"siteId":5,"organizationId":6,"programId":7,"localeSpaceId":8,"siteSlug":9,"programSlug":10,"localeCode":11,"regionPolicy":12,"themeKey":13,"timezone":14,"maintenanceMode":15,"matchedBy":13,"host":16,"pathPrefix":17}]