风景画与“图像的转向”:以安克斯密特为基点的考察

Landscape Painting and “Pictorial Turn”:An Analysis from Perspective of Ankersmit

在安克斯密特关于"图像的转向"的历史表现理论中,有关风景画的论述有着可以深入展开的意义。关于风景画起源的论述是和他对绘画作品画框的关注相联系的,风景画作为扩大了的画框之新的中心与历史写作的进展联系起来。但安克斯密特并未因此赋予风景画对历史表现的特殊性。本文关注的转向之风景画,侧重风景画对历史表现的诗性隐喻,它作为一种内在的形式要素,凸显了历史性理解的生成和在场。由此,可以尝试从动词性风景画表现来考察一种可能的历史表现的表达性理解。

In his the relatedness of is analyzed hing to be ＂pictorial turn＂ paradigm of historical representation, Frank Ankersmit discusses landscape painting and historical representation. The origin of landscape painting in relationship to his analysis of frame, and particularly, landscape painting＇s approac- a new center of the enlarged frame is taken as a metaphor for the development of historical writing. However, Ankersmit does not pay enough attention to the import of landscape painting in its specific reference to historical representation. In this article, ＂turn to landscape painting＂ will be explored in more details, and emphasis will be on the landscape painting as a poetic metaphor for historical representation. As a formal element inherent, landscape painting helps to present the individuality of historical understanding, which is, theory of historical representation may be well painting as a verb, ＂to paint＂, instead of as a coming to be at present. Therefore, an expressive understood through the representation of landscape noun, ＂painting＂