多元与无限:巴洛克时代的视觉秩序探析

Diversity and Infinity:An Analysis of Visual Order in the Baroque Era

“巴洛克”(Baroque)是一个时代的概念,这一概念原则上延伸和贯穿到构成这个时代的所有观念和文化形式中。“巴洛克”一词原义为“形状奇特而色泽异常的珍珠”,被定义为“变化无常”“奇异”和“古怪”,它接受和容纳任何奇异的、不符合规范的事物,不规则的形式开始散发出魅力。“巴洛克”通常与“无限”“新奇”“浮躁”“疯狂”“反同一性”“多元化”“欲望”“颓废”等概念相关联。具体而言,巴洛克的视觉秩序表现为对无限空间的接受,对去同一性视觉制度的容纳以及对多元混杂状态的热衷和欢呼等。这一视觉秩序体现了巴洛克时期人的视觉认知、空间感知、人与世界的关系的变化,它既是空间表征模式变化的结果,也是一个时代政治、文化、经济、科学、艺术、宗教等共同作用的产物。我们在沃尔夫林所说的“涂绘”的风格、尼采的“酒神的狂欢”、本雅明的“悲悼剧”的隐喻、德勒兹的“褶子”等概念中都看到巴洛克视觉秩序的表征。它是对笛卡尔透视主义单一性、同质性视觉秩序的颠覆,这一切都与之前的文艺复兴时期形成了强烈的对照,也因此孕育了一系列标志着现代性和后现代性的文化萌芽。

“Baroque”is a concept that encompasses an era,which in principle extends and permeates all the ideas and cultural forms that make up this age.Baroque art style came into being in Europe in the 17th century.The original meaning of the word“baroque”is“pearl with strange shape and abnormal color”,which is defined as“impermanence”,“strangeness”and“eccentricity”.It accepts and accommodates anything strange and irregular,and the irregular form begins to exude charm.Baroque is usually associated with such concepts as infinity,novelty,impetuousness,madness,anti-identity,pluralism,desire and decadence.We can see the representation of Baroque visual order in Heinrich Wolfflin’s“painted”style,Nietzsche’s“Dionysian carnival”,Benjamin’s“Trauerspiel”metaphor,Deleuze’s“folds”and other concepts.It is the subversion of the monolithic and homogeneous visual order of Cartesian perspectivism,including the change of spatial cognition mode,the re-understanding of reason and order,the acceptance of sensibility and physicality,and accommodation and celebration of a state of diversity and confusion.All of this formed a strong contrast with the Renaissance period that came before it,and thus gave birth to a series of cultural sprouts that signaled modernity and post-modernity.