面向“自我”的精神分析艺术批评——以《圣母子与圣安妮》为契机的反思

Psychoanalytic Art Criticism on Self—Reflection on“La Vierge,L’Enfant Jésus et Sainte Anne”

弗洛伊德、夏皮罗与拉康对达·芬奇名作《圣母子与圣安妮》的图像分析呈现出精神分析艺术批评在言说艺术家“自我”时的三种面向:弗洛伊德以达·芬奇的“秃鹫幻想”还原出图像中的“恋母情结”,试图构建起神话般的自我统一体与科学般的精神分析话语;夏皮罗以宗教史、艺术史观点修正了弗氏的误构,揭示出图像中内在自我与外在历史的张力关系;拉康从达·芬奇自然观念的双重面向出发,在图像叙事中阐释出自我的有限经验与无限潜能。这三种面向为精神分析艺术批评的未来发展提供了重要的启示:一种面向“自我”的批评应当以扎实的历史文献为根基,将艺术家自我放置在广阔的历史背景、时代语境以及不断流变的作品意蕴中加以深入的考察。

Freud,Schapiro and Lacan’s analysis on Da Vinci’s masterpiece“La Vierge,L’Enfant Jésus et Sainte Anne”presents three facets of psychoanalytic art criticism when dealing with the“self”of artist.Freud reveals the“Oedipal complex”of the image in name of Da Vinci’s“vulture fantasy”,trying to construct a mythical self-unity and a scientific psychoanalytic discourse.Schapiro corrects Freud’s misconceptions from the viewpoint of religious history and art history,unveiling the tension between the inner self and the outer history in the image.Lacan starts from the dual facets of Da Vinci’s Nature,then explains the limited experience and the infinite potential of self in the narrative of image.Those three facets provide important insights on the future development of psychoanalytic art criticism.A criticism oriented towards the“self”should be based on solid historical documents,as well placing the self of artist in a broad historical context and the ever-changing significance of artwork for in-depth examination.