图像:从“空间性”向“时间性”的一个历史调整

Image: A Historic Adjustment from Spatiality to Temporality

图像如何呈现物性,宏观来看,再现性图像范式中整体呈现出从空间性向时间性的调整。文艺复兴时期,再现性图像的发端,是以空间性作为物性呈现的基本架构,艺术家深植的观念将物的本性视为生活世界的本真,图像强调呈现生活世界一种永恒的、普遍的空间性,这一普同的表达形塑、强化了图像对空间性的显明。19世纪上半叶,图像对时间性的表达日渐重视。一方面,基于空间性视觉理论本身的发展推进,逐渐突出了主体视觉感知的个体性、暂时性;另一方面,图像创作主体的主观因素不断地凸显,主客对立的视觉模型逐渐被破除,借助色彩的创新运用,生活世界的时间性获得了强化与重构。

How does the image express the thingness? From a macro perspective, the representation image paradigm as a whole presents the adjustment from spatiality to temporality. During the Renaissance,the image took the spatial nature as the basic structure of the thingness presentation, the artist’s deeply planted concept regarded the nature of the object as the truth of the life world, and the image emphasized the eternal and universal spatiality of the life world. This universal expression shapes and strengthens the manifestation of the spatiality of the image. In the first half of the 19th century, images paid more and more attention to the expression of temporality. On the one hand, based on the development of spatial vision theory itself, the individuality and temporality of subject visual perception is gradually highlighted;on the other hand, in the process of creating images, subjective factors continue to highlight, the visual model of subject-object opposition is gradually broken. With the innovative use of color, the temporality of the life world has been strengthened and reconstructed.