摘要
视觉无疑是绘画美学中的一个核心概念。要对其进行深入理解,首先应区分视觉与视见之间的异同,从而将视觉自身的纯粹性作为一个首要出发点。此种纯粹性,既指向着一种原初的生成结构,又似乎必须在与其他的异质性序列(尤其是言语)之间的开放关联中获得呈现。德勒兹抒写的光之诗学,以及福柯对临床目视的洞察,都启示出可贵的线索。在中国古代画论和画作之中,同样存在着"观"与"言"这个基本问题,而如恽寿平这样的独到画家则尝试着种种打开二者的"知识"—"积层"的实验和实践。
Vision is one of the key concepts in the aesthetics of painting. In order to understand it deeply, we need to clarify the basic distinction between ‘vision' and ‘seeing' at first, so as to consider the authenticity of vision as a starting point. The authenticity refers to a primary generating structure, and it should also present itself by the open relationships with other series(especially discursive). In this point,Deleuze and Foucault had provided us with some inspiring clues. The duality of vision and discourse has been existing in the deepest ‘strata' of Chinese culture. The ‘exceptional' painters such as Yun Shouping had attempted to open these ‘strata' by a variety of experiments.
出处
《哲学分析》
2013年第5期91-106,199,共16页
Philosophical Analysis
基金
国家哲学社会科学基金重大项目"中国文化的认知基础和结构研究"(项目编号:10&ZD064)的资助
关键词
视觉
观
积层
vision
behold
strata
