作为视觉范式的透视——达弥施的透视学及其意义

Perspective as Visual Paradigm: On Hubert Damisch’s Perspective Theory and Its Significance

达弥施在批判地继承潘诺夫斯基透视理论的基础之上,借助结构主义、精神分析和现象学理论,将透视发展为一种视觉范式,进而在发生学和思想史两个层面重构了透视理论。作为一种视觉体制,透视成为一种视觉句法,它影响了观看活动和观看关系的建构,其价值则体现为意义的生产。作为一种思想史层面的生产,透视成为一个不断被叙述的“理论客体”,从而构筑了关于透视的历史。达弥施无疑将透视学从艺术史领域推向了更为广阔的视觉解释层面,对重新定位透视在艺术史和视觉生产中的作用极具启示意义。

On the basis of critically inheriting Panofsky's perspective theory,Damisch developed perspective into a visual paradigm by resorting to structuralism,psychoanalysis and phenomenology,and then reconstructed the perspective theory at the levels of embryology and thought history.As a visual regime,perspective itself becomes a kind of visual syntax,which affects the construction of viewing activities and viewing relations.Its value is reflected in the production of meaning.As a kind of production at the level of thought history,perspective becomes a "theoretical object" which needs to be expounded constantly,thus constructing the history about perspective.Undoubtedly,Damisch pushed the perspective theory from the field of art history to a broader level of visual interpretation,which is of great enlightening significance for relocating perspective in art history and visual production.