《美杜莎》的情动——卡拉瓦乔、历史画与自画像  

The Affect of Medusa:Michelangelo Caravaggio,Historical Painting and Self-portrait

作　　者：张晨[1] Zhang Chen(School of Humanities,Central Academy of Fine Arts)

机构地区：[1]中央美术学院人文学院

出　　处：《美术》2024年第12期114-125,共12页Art Magazine

基　　金：国家社科基金艺术学青年项目《现当代身体艺术理论研究》(项目编号:22CF178)的阶段性研究成果。

摘　　要：在卡拉瓦乔研究者看来,艺术家创作的《美杜莎》既是历史画也是自画像,如果将其与卡拉瓦乔的《那喀索斯》等作品展开对比、与同时代的其他美杜莎主题作品并置,那么这件作品作为历史画显现了多重时间的交叠、作为自画像抛出了一张归属不明的面孔。卡拉瓦乔所带来的“绘画的毁灭”引发了再现的解体、扰乱了图像的自我指涉,同时在一种当代情感理论的视域下,以充满力量强度的情感运动拥有了溢出理性主体掌控的可能。无论是卡拉瓦乔不同时期的作品,还是同时代的其他美杜莎图像,都在情动的理论谱系与图集中被连接起来。Researchers who study Michelangelo Caravaggio believe that the Medusa that he created is both a historical painting and a self-portrait.It features overlapping time frames as a historical painting and creates an unidentified face as a self-portrait when compared with Caravaggio’s Narcissus and other Medusa-themed paintings of the same period.“To Destroy Painting”brought by Caravaggio caused the collapse of representation,disrupted the self-reference of painting,and,from the perspective of contemporary theories on affect,gained the possibility of being free from the control of a rational subject through powerful affective movements.Be it paintings created by Caravaggio in different periods or other Medusa-themed paintings of the same period,they were all connected in the theoretical spectrum and image atlas related to affection.

关 键 词：卡拉瓦乔 美杜莎 历史画 自画像 

分 类 号：J20[艺术—美术]