摘要
阐释视域中的图像,作为生活世界的实在,关联特定的社会空间,如果脱离这一空间,图像阐释往往容易陷入残缺与失真。图像的凝视场域,包括绘者的凝视和观者的凝视,具有实在性、认知性和建构性。通过凝视场域,图像连通绘者外在的生活世界与其心灵空间的复杂关系,连通绘者与观者,承载着绘者心灵空间与观者心灵空间的交叠。将图像放置到其所在社会空间,进行切近、观察、思考,这是图像观察、图像阐释在方法上的回归,也是理解图像实在性、丰富性和发展性一种极为切近的路径和方法。
The image in the vision of image interpretation, as the reality of the life-world, is a reality of a specific social space. If it is separated from this space, image interpretation is often prone to fall into incompletion and distortion. The gazing field of an image is realistic, cognitive and constructive, including the gaze of the painter and the gaze of the viewer. By gazing field, the image connects the complex relationship between the painter’s external life-world and his spiritual space, connects the painter and the viewer,and carries the overlap of the painter’s spiritual space and the viewer’s spiritual space. Putting images in the social space where they are located for approaching, observing and thinking is the regression of image observation and image interpretation methods, and also a very close path and method to understand the reality,richness and development of images.
作者
王海明
Wang Haiming(Institute of Law,Zhejiang Academy of Social Sciences,Hangzhou 310007)
出处
《浙江社会科学》
CSSCI
北大核心
2023年第3期64-73,158,共11页
Zhejiang Social Sciences
基金
浙江省第三期文化研究工程重点课题“古代绘画艺术图像中的环境文明(人与环境)研究”(21WH70082ZD-3Z)研究成果。
