去根基的图像与末世之痛——耶罗尼米斯·博斯的虚空灵视  

The Ungrounded Image and the Trauma after the End of World

作　　者：姜宇辉[1,2] JIANG Yuhui

机构地区：[1]华东师范大学政治与国际关系学院 [2]华东师范大学政治学前沿与跨学科教研室

出　　处：《当代美术家》2024年第1期90-107,共18页Contemporary Artists

摘　　要：博斯的末世绘画仍然对当下的现实有着共鸣和关联。这首先需要我们重新思考末世作为一个主题和概念的双重含义,它既可以在科莫德的意义上作为一种连贯而总体性的叙事,但也同样不妨在福柯和莫顿的意义上被视作一种去根基的绝对否定的运动。在博斯的创作之中,此种去根基的动机至少有三重体现。一是世界框架和意义背景丧失之后,万事万物之间反而拉近的密切关系。二是三联画在外与内之间、开与阖之际所展现的水平的见证节奏,尤其是面孔和音乐。三则是近乎炼狱一般的苦痛体验,并由此所激发的分享火焰的极致共情。Bosch's apocalyptic paintings remain resonant and relevant to today's realities.This first requires us to rethink the double meaning of the eschatology as a theme and concept.It can be used as a coherent and overarching narrative in Kermode's sense,but it may also be used in the sense of Foucault and Morton.It is regarded as a movement of absolute negation that removes the foundation.In Bosch's creation,this motivation of‘un-grounding’manifests itself in at least three ways.The first is the deep intimacy between all things after the world framework and meaning background are lost.The second is the horizontal rhythm of witnessing shown in the triptych between outside and inside,between opening and closing,especially the faces and music.The third is an almost purgatory-like painful experience,which inspires the ultimate empathy of sharing the flame.

关 键 词：博斯 末世 三联画 绝对否定 感觉的逻辑 

分 类 号：J205[艺术—美术]