图像学之困:纽曼研究察微

The Problem of Iconology:Observation on The Research about Newman

以潘诺夫斯基为代表的传统图像学难以通过所谓的"前图像志"、"图像志"和"图像学"三阶段方法来阐释抽象艺术尤其是美国抽象表现主义画家巴内特·纽曼的绘画,这种极端的不适合状态甚至体现于著名的潘诺夫斯基--纽曼之争。罗森伯格、罗森布鲁姆和利奥塔等人则通过攀援纽曼提出的"崇高"美学进行图像学的转型阐释实验,莱杰等学者则尝试以隐喻和共情的途径推进更能理解纽曼绘画的"移情图像学",此外,阿比·瓦尔堡基于体验的文化人类学研究亦给予图像学以新的启示和方向。本文最后通过介绍和评述劳伦斯·阿洛威对纽曼的"图像学"阐释及其反思,指出图像学要阐释抽象绘画,共情感是必不可少的前提,但是纽曼拒绝阐释的立场及有意给予观者的语言暗示,则将问题推进到更深层次的语图关系领域。

The traditional Iconology represented by Erwin Panofsky has difficulty in interpreting abstract art especially the American abstract expressionist painter Barnett Newmans paintings by using three-stage approach as "pre-iconography","iconography" and "iconology",the extreme against even reflected in the famous controversy between Panofsky and Newman.Rosenberg,Rosenblum and Lyotard converted the traditional Iconology by associating the conception "sublime" aesthetics which was suggested by Newman.Michael Leja and other scholars tried to improve empathetic iconography by means of metaphor and empathy.Aby Warburg's cultural anthropology also can give a new direction and inspiration for Iconology.This article finally introduces and reviews the interpretation and reflection by Lawrence Alloway to the Newman paintings,and argues that empathy is necessary for Iconology to interpret abstract art.Besides,the gesture of against interpretation of Newman and his intention to give diction implication,leads the problem into a deeper field,the relation between language and figure.