图像带来的双重视觉发现——从左拉的《杰作》谈起  

Two-fold visual discovery through images:A discussion on Zola’s L'oeuvre

作　　者：牟春[1] MU Chun(Department of Philosophy,Shanghai Normal University,Shanghai 200234,China)

机构地区：[1]上海师范大学哲学系,上海200234

出　　处：《中南大学学报（社会科学版）》2020年第4期41-49,共9页Journal of Central South University：Social Sciences

基　　金：国家社科基金一般项目“瓦尔堡学派的图像学研究”(17BZX130);上海市浦江人才计划项目“瓦尔堡学派的艺术文化学研究”(17PJC083)。

摘　　要：左拉以塞尚及其画家圈子为原型构造了小说《杰作》,而这部小说的问世竟致使左拉和塞尚这对曾发誓“永不诀别”的好友分道扬镳。文章试图从图像带来的双重视觉发现的角度重新诠释这段公案,说明印象派绘画的革新之处,以及身处这一革新之中的塞尚的独特艺术追求。印象派绘画让人们意识到观看世界的不稳定性,并通过对视觉的重新分节来丰富人们观看世界的方式;而塞尚则试图在保留印象派革新的基础上重新恢复视觉的稳定性,满足人们寻求统一意义的天然倾向和尝试。塞尚因《杰作》与左拉决裂,正因《杰作》暴露了自然主义者左拉对塞尚这一艺术追求的不解和轻视。Zola,based on Cézanne and the painters in Cézanne’s circle,composed the novel L'oeuvre.But the publication of the novel led to the partition between Zola and Cézanne who had sworn to each other"never to say goodbye".This article attempts to reinterpret this disputed case from the perspective of two-fold visual discovery,to illustrate the innovation of Impressionist paintings and to explain Cézanne's unique artistic pursuit in the background of Impressionism.Impressionist paintings make us aware of the instability of our view of the world,and enrich our ways of seeing by re-dividing visual images.Cézanne,on the other hand,tries to restore visual stability and satisfy our natural tendency and attempt for the unity without kicking off Impressionist innovations.Cézanne broke with Zola precisely because L'oeuvre exposed Zola as a naturalist who misunderstood and disdained Cézanne’s artistic pursuit.

关 键 词：图像 双重视觉发现 塞尚 左拉 《杰作》 

分 类 号：J204[艺术—美术]