杜乔《宝座圣母》的语境重构

Reconstructing the Context of Duccio’s Maestà

本文所关注的是杜乔圣母图的意识形态建构问题,即杜乔是如何利用图画这个"意识形态装置"来表达和强化宗教及国家的意识形态认同并将它们统一到一起的。画板及其排列顺序的确认固然是图像阐释的基础,但在还原式的重构彻底完成之前,阐释学"先行"不仅是必要的也是必需的,尤其对于杜乔的《宝座圣母》而言,要想说明这个意识形态装置的运作机制,就必须抛开它现有的"艺术碎片"状态,历史性地将它回置——尽管只是想象性地回置——到原初的视觉情境,在一种想象的观看关系中来把握意识形态在装置中的绽出。以锡耶纳大教堂的整个装饰设计为例,我们看到整个装置的布局实际上是沿中心轴进行其主题配置,它以圣母祀拜为核心,以历史记忆和宗教虔诚为表达对象,将国家和宗教的共同体想象结合在一起,同时也是以此来建构想象的共同体。

What this paper focuses on is the ideological construction of the picture of The Maestàof Duccio,namely:how did Duccio use the“ideological device”of the picture to express and strengthen the ideological identity of religion and state and unify them together?Drawing board and the confirmation of the order is the basis of image interpretation,but before completely done with the reduction of refactoring,hermeneutics“leading”is not only necessary but also necessary,especially for the throne of Duccio Notre Dame,in order to illustrate the ideological device operation mechanism,it must put aside the existing state of“art pieces”,historic back to buy-although it is only imaginative-to be back to the original visual context,in an imaginary watch relations to grasp the ideological conceits in the device.Siena cathedral of the whole decoration design,for example,we see the layout of the whole device is,in fact,its theme configuration along the central axis,it with the virgin enshrined and worshipped as the core,by historical memory and piety as the object of expression,the national and religious community imagine together,is also a way to construct the imagined community.