拉斯科洞穴壁画与解构  

Lascaux Cave Painting and Deconstruction

作　　者：董波[1] 周礼[1] 

机构地区：[1]苏州工艺美院

出　　处：《创意与设计》2015年第2期16-22,共7页Creation and Design

基　　金：江苏省高校"青蓝工程"中青年学术带头人基金项目资助的阶段性成果

摘　　要：法国拉斯科洞穴壁画是著名的史前绘画,它的物象重叠颠覆了我们对"构图"的理解,其精神与现代西方的解构思想相通。解构由现代法国思想家德里达提出,它旨在消解源自古希腊的"逻格斯中心主义"。"逻格斯中心主义"的实质是言语对直觉的覆盖,它是西方文明的内质,在艺术领域带来了视、听之争。视觉的"反叛"构成了西方艺术史的基本线索,其结果是"视觉的听觉化"。从艺术史的角度说,"视觉的听觉化"正是解构的对象。杜尚和波洛克的创作活动体现出了绘画意义上的解构,而拉斯科洞穴壁画正与之产生共鸣。Lascaux Cave Painting is one of the most celebrated prehistoric art. The image of it is overlapping each other, which overthrows our basic view towards composition yet communes with deconstruction. Deconstruction is the name given by French Jewish thinker Jacques Derrida in an attempt to deconstruct the Iogos-based system. The essence of the Iogos-based system is that intuition takes shape in language, which formed the core of western civilization and has brought contending between vision and audition. The ＂uprising＂ of vision has been underlying the course of art history of the west. As a result, vision takes form of audition, which is to be deconstructed in the view of western art history. The destruction of painting showed in the Duchamp and Pollock＇s works, and Lascaux Cave Painting discovered at that time resonated.

关 键 词：拉斯科洞穴壁画 德里达 解构 西方艺术史 视觉的“反叛” 

分 类 号：J218.6[艺术—美术]