透视性凝视下的风景——后文艺复兴时期欧洲风景画中的空间实践与权力逻辑

Landscape Under the Gaze of Perspectivity: Space Practice and Power Logic in European Landscape Painting in the Post-Renaissance Period

作为自然主义的表征,风景成为人类图像语义符码系统中的成员,并非偶然。在多种因素的共同催化作用下,风景逐渐从自然空间环境场域中分化,渗透到社会文化层面,最终形成风景画的概念。在其嬗变的过程中,最重要的变量便是社会资本的权力逻辑。这种权力逻辑的介入,在风景中重构了空间秩序。这种新的空间秩序便是透视法,一种杂糅了科学性和权力性的凝视形式。然而,风景的人文化进程并不是一蹴而就的,风景经由风景印刷品和“风景作为背景的绘画”的洗礼,在透视法的作用下,才最终升华成一种兼容地理学、地志学,以及环境美学的叙事媒介——风景画。

As a representation of naturalism, the landscape becomes a member of the human image semantic code system. It is not a coincidence. Under the joint catalysis of multiple factors, the landscape gradually split from the natural space and environmental field,penetrated the social and cultural level, and finally formed the concept of landscape painting. In the process of its evolution, the most crucial variable is the power logic of social capital. The intervention of such power logic reconstructs spatial order in the landscape. The new spatial order is perspectivity, a form of gaze that combines science and power. However, the humanistic process of the landscape does not come easily. Through the baptism of landscape prints and "paintings with the landscape as the background", the landscape is finally sublimated into a narrative mediumlandscape painting. It is compatible with geography, topology and environmental aesthetics under the action of perspectivity.