摘要
巴桑戴尔考虑的是视觉实践如何成为一种再现的模式(从观看世界到图绘世界),瓦托夫斯基考虑的则是一种再现的模式如何成为一种视觉概观(从图绘世界到观看世界)。但是这两种方式原则上是一个循环不已的完整回路——从图画到世界,到图画,再到世界,一直持续。瓦托夫斯基称之为一个"螺旋线"。情况确实如此,尽管这不是(至少不只是)一个经典图绘风格(以及观看方式)在人类视觉史中前后垒叠的螺旋线。存在于其中的其实是图画的螺旋线,也就是说,任何图画必须以其风格特征才能部分被我们认识。
Whereas Baxandall considered how visual practice becomes a mode of representation （ from seeing the world to depicting it） , Wartofsky considered how a mode of representation becomes a visual scenario （from depicting the world to seeing it）.But either way, in principle the full cir-cuitry—from pictures to world to pictures to world and so on—is always up and running.Wartofsky＆amp;nbsp;called it a“spiral” .And so it is, though it is not （or at least not only） a spiral of canonical depic-tive styles （ and therefore of ways of seeing） that succeed one another in the history of human vision. It is rather the spiral of pictures becoming present in it, which is to say any pictures that can be rec-ognized by us in part in terms of their stylistic identity.
出处
《文化艺术研究》
2015年第4期139-148,共10页
Studies in Culture and Art
关键词
视觉
垒叠
图绘风格
vision
succession
depictive style
