物的凝视——论审美静观的宗教性起源  

The Gaze from Object:The Religious Origin of “Aufmerksamkeit”

作　　者：高薪 

机构地区：[1]南京大学艺术研究院

出　　处：《中国人民大学学报》2017年第5期132-140,共9页Journal of Renmin University of China

基　　金：国家社会科学基金重大项目"当代西方前沿文论研究"(14ZDB087)

摘　　要：17世纪的法国古典主义画家普桑曾就艺术品的观看提出过一个令人难解的条件:距离。对这一问题的解答使我们走向本雅明的"光晕"概念以及李格尔的"心境"概念。在这一问题谱系中,距离乃是开启审美静观的条件,这种审美静观包含了不同于一般观看的许多特质,它具有使物回看观者的能力、无功利性,以及观看的永不知足性等等。而且,静观是使艺术品产生效能的根本原则。本雅明和李格尔不约而同地将这种特殊观看的培植追溯到其宗教性的起源,借助阿甘本有关宗教的论述,以及宗教与仪式的"隔离"和"禁忌"操作分析,来揭开审美静观的诸种谜题,并理解其在现代社会所遭受的种种批判;与此同时,这一揭示也预示了审美静观在新的个体伦理学视角下所孕育的解放性功能。In 1639, the French artist Nicolas Poussin put forward an elusive requirement concerning how to look at a painting, which is ＂distance＂. The solution of the problem leads us to the concepts of Walter Benjamin＇s ＂Aura＂ and Alois Rigels＇ ＂Stimmung＂. In the genealogy of this problem, ＂distance＂ activates a different way of looking as defined by Poussin, and it defines the substantive properties of aesthetic contemplation＇（Aufmerksamkeit）. In this kind of looking, the beholder will receive the gaze from the object; feel disinterestedness and the insatiability of looking, etc,. This article contends that, ＂Aufmerksamkeit＂ has a deeply religious origin and only from this religious origin can we understand these special properties and explain why it is the dispensable principle for works of art to realize their potencies.

关 键 词：距离 光晕 心境 面纱 凝视 

分 类 号：J201[艺术—美术]