感性的重建——基于梅洛—庞蒂对格列柯宗教画的讨论  

Sensibility Rebuilding:On the Basis of Merleau-Ponty’s Discussion of El Greco’s Religious Paintings

作　　者：胡敏 Hu Min(the College of Liberal Arts,the Shanghai University)

机构地区：[1]上海大学文学院

出　　处：《美术》2023年第4期130-139,共10页Art Magazine

基　　金：国家社会科学基金重点项目《当代中国对话主义文学理论的话语建构研究》(项目编号:22AZW003)的阶段性成果;上海市教育委员会科研创新计划人文社会科学重大项目《新媒体艺术理论基本问题研究》(项目编号:2023SKZD15)的阶段性成果。

摘　　要：梅洛—庞蒂对绘画的最早论述是关于文艺复兴画家格列柯的。人们认为格列柯怪异的绘画风格源于画家先天的视觉缺陷,但梅洛—庞蒂通过身体的行为结构反驳了这一观点,并认为绘画是一种风格化的表达,由此引出绘画与感知的关系问题。梅洛—庞蒂借助对格列柯宗教画主题和时空表征的分析阐发了感知发生的“共融”本质,并从深度、颜色和线条三个维度进一步表明了绘画对可逆的普遍感性的揭示作用。绘画先于哲学阐明了感知的发生模式,并完成了对这一事实经验的描述。梅洛—庞蒂正是通过求助于绘画范式在哲学上完成了对感性的重建。Merleau-Ponty’s earliest discussion on painting was about El Greco,a painter in Renaissance.It is believed that Greco’s weird painting style stems from his born visual defect,but Merleau-Ponty refuted this view through the behavioral structure of the body,and believed that painting was an expression of style,bringing us to the relationship between painting and sensibility.Merleau-Ponty analyzed the theme of Greco’s religious paintings and the representation of time and space to elaborate on the“integrating”nature of sensibility,and further demonstrated that painting reveals reversible sensibility from the three aspects of depth,color and lines.Painting demonstrated how sensibility occurred earlier than philosophy and described this fact.In this way,Merleau-Ponty rebuilt sensibility philosophically through the paradigm of painting.

关 键 词：梅洛—庞蒂 知觉现象学 格列柯 感性 共融 

分 类 号：J219[艺术—美术]