绘画:可见与可述——从绘画看福柯的艺术哲学

The Visible and the Articulable: Investigating Foucault’s Philosophy of Art through Paintings

福柯通过三幅绘画的解读,向我们传达出他对绘画艺术的哲学思考。在其名著《词与物》中,福柯揭示了古典时期实在(物)与语言(词)之间的"断裂"——也即图像与文字(语言)的断裂。事实上,福柯的前两幅绘画的解读都承续了这一思想。而在《马奈的绘画》一书中,福柯却发现了一种别样的"目光"。这种"看"与"说"、"可见"与"可述"裂隙之处的目光,既让马奈的画成为一种创造;也使福柯发现了一种"自由空间"生成的可能性。究极而言,福柯的绘画论实际体现了他的这样一个观点:"不可见性是可见的"。换句话说,福柯的艺术哲学核心就是,他要寻找这种关于"目视"的真理——它既是一种考古学,也是一种外界思想——它是自由精神的写照。

In The Order of Things, Foucauh reveals the fissure between reality （things） and language （words） , i. e. , the fissure between image and words （language） in Classic period. Foucault＇ s philosophical thought on planar visual art is conveyed through his interpretation of three paintings. This thought is carried forward in the interpretation of the first two paintings, but in the Ed- ouard Manet＇s Paintings, Foucauh finds another ＂vision＂. The vision of fissure between seeing and speaking or between the vis- ible and the artieulable not only renders Manet＇ s paintings as one type of creation but more importantly enables Foucauh to find the possibility of the formation of ＂free space. ＂ Essentially, Foucauh＇ s discussion of paintings reveals his view that ＂the invisi- ble is visible. ＂ In other words, the essence of Foucault＇ s philosophy of art is to seek the truth about the vison, and this pursuit as both an archeology and an external thought is an embodiment of free spirit.