“揭示原形”的迹象艺术——克利艺术观的海德格尔式解读

The Trace Art of“Revealing the Protofigural”:A Heideggerian Interpretation of Paul Klee's Art Theory

克利认为绘画不是再现作为可见事物的“前形”,而是“揭示”使可见得以可能的“原形”。“原形”作为不可见者是自然而然地持续生成、涌动和绽放的“自然”,在逻辑上“前形”奠基于“原形”,后者比前者更本源;“揭示”不是“再现”和“抽象”,后二者皆乃对象化的强力,而“揭示”是与流偕行和顺势而为的非对象化行为,“揭示原形”意味着如“原形”本身自然而然地持续生成、涌动和绽放的那样“形式显示”“原形”。克利绘画作为其艺术观的实践既不是具象绘画,亦非抽象绘画,而是居于二者之间的迹象艺术,海德格尔从“本有的转向”的角度将克利的绘画视为克服了艺术形而上学的非对象性绘画。

Paul Klee believes that painting reveals the protofigural which makes possible the visible rather than being the prefigural which is the representation of visible objects.The protofigura,as the invisible,is natural,which continuously forms,flows,and prosper.The prefigual underlies and tions as the basis of the prefigural.Revealing is not the force of objectification such as representation and abstraction,but a non-objectifying action that follows the natural force of formal indication.Revealing the protofigural to let it unveil itself spontaneously.As a result,Klee's paintings are neither objective art nor abstract art,but an intermediate“trace art”between them.Heidegger,from the perspective of“the turn of Ereignis,”refers to Klee's paintings as the non-objective painting that overcomes artistic metaphysics.