反“肉身公式”——德勒兹论塞尚绘画的“感觉”重建  

Resistance to the “Flesh Theory”:A Reconstruction of “Sensations” in Cezanne’s Paintings from Deleuze’s Theory

作　　者：周厚翼 Zhou Houyi

机构地区：[1]不详

出　　处：《当代美术家》2021年第5期30-35,共6页Contemporary Artists

基　　金：上海市教育发展基金会曙光计划项目“身-言-像:当代法国艺术哲学的三个主题”(批准号:12903-412221-17007)阶段性研究成果

摘　　要：艺术作品能够永葆青春的秘诀是什么?对于这一疑惑,梅洛-庞蒂与德勒兹都试图从塞尚的绘画作品中找到某种潜在的感觉本体论。梅洛-庞蒂等现象学家将"感觉"诉诸身体的含混性,以非客观身体的现象学式肉身解释了身体视角的可能以及肉身的丰富样态。德勒兹认为,梅洛-庞蒂等人提出的肉身本体论,是被一种"左手触摸右手"的奇妙肉身主义启发,实际上,这只是一种完美的巧合。区别于梅洛-庞蒂,德勒兹试图从他的身体观点重建起对于塞尚绘画的一种建筑学式的、块茎状的诠释,以对抗肉身现象学滑向某种神秘主义的原初意见。What is the secret that artworks can keep their youth forever?For this, Merleau-Ponty and Deleuze both tried to find some potential ontology of sensations from Cezanne’s paintings. Merleau-Ponty and other phenomenologists resorted to the ambiguity of flesh to explain the possibility of body perspective and the rich forms of the body. However, Deleuze thinks that Merleau-Ponty’s flesh theory is simply inspired by an unconvincing body doctrine which is just an ideal coincidence. To refute the perspective from Merleau-Ponty, Deleuze tried to reconstruct an architectural and tuberous interpretation of Cezanne’s paintings from his theory of sensations, aiming to counter the original idea that the phenomenology of the flesh which slides to a certain mysticism.

关 键 词：现象学 肉身公式 感觉 梅洛-庞蒂 德勒兹 

分 类 号：J205[艺术—美术]