摘要
法国艺术史家乔治·迪迪—于贝尔曼发现图像中存在一种特殊的物质性“pan”,借此对艺术史学科中存在的确定性语气提出质疑。他首先借用弗洛伊德的“症状”概念,将其视为一种具有干扰性力量的非知,由此对图像研究中固有的范式与惯例提出批判。在此基础上,他追溯了“pan”的文学与精神分析学的背景,将其与画面细节概念进行对比,指出其作为图像症状的物质地位。最后,通过分析中世纪画家弗拉·安杰利科对道成肉身主题绘画的视觉描绘,找寻到“pan”的“非似”属性,并揭示出图像中的物质呈现。最终将物质从传统绘画从属地位中解脱出来,颜料摆脱了去描述和说明对象的束缚,绘画也超越了相似性模仿的范畴。
The French art historian Georges Didi-Huberman discovered the existence of a special kind of materiality,“pan”,in images,thereby questioning the deterministic tone that exists in the discipline of art history.Borrowing Freud’s notion of“symptom”as a kind of non-knowledge with disturbing power,he first criticises the paradigms and conventions inherent in the study of images.On this basis,he traces the literary and psychoanalytic background of the pan,contrasts it with the notion of pictorial detail,and points to its material status as a symptom of the image.Finally,by analysing the visual depictions of medieval painter Fra Angelico’s paintings on the theme of the Incarnation,he seeks out the“dissemblance”attributes of“pan”and reveals the material representation in the images.Ultimately,the material is freed from its subordinate position in traditional painting,the pigment is freed from the constraints of describing and illustrating the object,and the painting transcends the realm of imitation of resemblance.
