艺术史的“生”或“死”——探索一种作为激情程式(pathosformel)的艺术史

The “Life” and “Death” of Art History:Towards an Alternative Possibility Focusing on Pathosformel

于贝尔曼晚近以来对艺术史的批判性反思颇有可观之处。他既不赞同将艺术史简化为史料的搜罗钩沉,同样也不认同图像学传统那种"读图"式的知性化取向,而更试图回归瓦尔堡的激情程式概念,探寻另一种艺术史的书写可能。只不过,他对激情程式这个概念的理解最终还是囿于德勒兹式的生命论难以自拔,因而也就无法有效克服"形式生命"这个现代艺术史脉络的各种弊病。由此我们试图以pathos为要点,从于贝尔曼的文本之中展现出另一种彻底否定性的思索维度。正是此种由被动生主动,由否定转肯定的运动,使得艺术史得以在全球化的困境之中探寻一线死而复生的希望,并为重新反思主体性的问题提供重要线索。

In recent years,Huberman’s critical reflection on art history is quite impressive.He did not agree with the simplification of art history as historical materials,nor did he agree with the traditional intellectual orientation of"reading pictures"in iconology.Instead,he tried to return to Walburg’s concept of pathosformel and explore another possible way to write art history.However,his understanding of the concept of pathosformel was finally confined to Deleuze’s vitalism,so he could not effectively overcome the various shortcomings of"life of form",the context of modern art history.Therefore,we try to take Pathos as the main point to show another dimension of"radical negativity"from Huberman’s text.It is this movement from passivity to activity and from negation to affirmation that makes art history find a glimmer of hope for resurrection from the predicament of globalization and provide important clues for rethinking the issue of subjectivity.