摘要
法国著名哲学家和艺术理论家路易·马林借以古典符号学的阐释方法对绘画再现机制中“画框”的语义及研究价值进行讨论与梳理,通过捕捉图像中的“边缘”或“边界”元素,深入分析绘画作品中的画框生成过程,试图在绘画再现系统中对“画框”的自主性和概念化进行理论阐释。他认为,画框可以在一定意义上给予观者独特的凝视经验,使得绘画作品在可见空间内拥有最大限度的自主性,从而总结出关于画框与图像关系以及控制定位画面的方法论意义,最终在艺术哲学的场域下为绘画再现机制的系统性方法提供独特的阐释视角。
Louis Marin,the famous French art historian and philosopher,aims to discuss the semantic meaning and research value of the“frame”in the mechanism of painting reproduction through classical semiotics of interpretation.He further analyzes the frame generation process in painting works by capturing the“edge”or the“frame”in the image,attempting to establish a comprehensive,autonomous,and conceptual theory of“frame”interpretation in the painting reproduction system,and believing that frames can give the viewer a unique gaze in a certain sense.The experience allows the painting to have the maximum autonomy in the visible space.The methodological significance of the relationship between the frame and the image and the control of the positioning of the image is thus concluded,and finally a unique perspective on the systematic approach to the reproduction mechanism of painting is provided in the field of philosophy of art.
作者
刘子琦
诸葛沂
LIU Zi-qi;ZHUGE Yi(Institute of Arts Education,Hangzhou Normal University,Hangzhou 311121,China)
出处
《美育学刊》
2021年第2期91-99,共9页
Journal of Aesthetic Education
基金
浙江省哲学社会科学规划课题“超越‘语-图’之辨:西方当代艺术写作实践研究”(15JDYS01YB)的研究成果。
关键词
路易·马林
画框
绘画再现
自主性
Louis Marin
picture frame
painting reproduction
autonomy
