图像学3.0:20世纪图像理论的三个阶段  

Iconology 3.0:Three Phases of Image Theory in the 20th Century

作　　者：唐宏峰 Tang Hongfeng

机构地区：[1]北京大学艺术学院

出　　处：《美术》2020年第9期6-11,26,共7页Art Magazine

基　　金：北京市哲学社会科学基金重大项目“艺术媒介学与艺术理论创新研究”(20WYC012)阶段性成果。

摘　　要：作为艺术史研究领域自身发展起来的理论与研究方法,图像学是艺术研究的基本内容。从瓦尔堡、潘诺夫斯基确立起来的艺术史图像学理论,到米歇尔扩展图像学为更普遍的图像理论,再到当下基于数字技术的种种新的图像观念与认识,图像学经历了几个阶段的发展。米歇尔用图像学1.0、图像学2.0和图像学3.0概括这种发展过程,三个阶段的根本要点乃是"图像--世界"、"图像--生命"和"图像--现实"三种图像与其对象的不同关系,从机械模拟图像带来的世界的图像化,到生命政治时代的生命图像,再到数字图像以新的技术能力匹配多面现实,20世纪图像理论充分探讨了图像与现实世界和人的主体生命之间的关系。As a theory and research method developed in the field of art history,iconology is the basic content of art studies.From iconology established by Aby Warburg and Pannofsky in art history studies,to W J.T.Mitchell's extension of iconology to more general image theory,and to various new image concepts and understanding based on digital technology,iconology has experienced several stages of development.Mitchell called this kind o f development with Iconology 1.0,Iconology 2.0 and Iconology 3.0.The essential points of these three phases are three difFerent relations between images and their referents that are Image-World,Image-Life and Image-Reality,from Image-World brought by mechanical analog images,to the biopictures in the era of biopolitics,and then to digital images that match the multi-faceted reality with new technical capabilities.In the 20th century,image theory has fully discussed the relationship between images and the reality,world and human life.

关 键 词：图像 图像学 模拟图像 生命图像 数字图像 法证图像 

分 类 号：J202[艺术—美术]