暗箱的观看与隐喻——重新解读绘画《天文学家》和《地理学家》  

Camera obscura's viewing and metaphor:Reinterpreting the Paintings The Astronomer and The Geographer

作　　者：钟书洋 雀宁 ZHONG Shu-yang;QUE Ning(Yunnan University of the Arts,Kunming,Yunnan 650500)

机构地区：[1]云南艺术学院,云南昆明650500

出　　处：《吉林艺术学院学报》2024年第6期77-83,共7页Journal of Jilin University of Arts

摘　　要：自文艺复兴以来,西方的视觉认知模式建立在“观看”的基础之上。因观看的改变,艺术的视觉再现和认知模式也因此而改变。17世纪,暗箱的发明使以暗箱为主导的视觉观看机制取代了之前以透视为主导的视觉机制。观看的改变对于当时的科学认知和绘画再现都有着巨大的影响。17世纪的画家维米尔以暗箱辅助绘画闻名遐迩,其绘画《天文学家》和《地理学家》就深受该机制的影响。维米尔对暗箱的运用首先表现在空间构图上,即利用暗箱机制实现观看的真实;其次暗箱作为视觉隐喻在绘画中与人物的观看形成认知模式,并通过两幅绘画光线与物象的对照进一步揭示科学家的精神特质。绘画由暗箱观看深入到科学认知展现了当时科学家认知世界的方式,以及维米尔对科学认知的思考。Since the Renaissance,the Western model of visual cognition has been based on"seeing".As a result of the change of viewing,the visual representation and cognitive mode of art have also changed.In the 17th century,the invention of the camera obsca enabled the visual viewing mechanism dominated by the camera obsccura to replace the previous visual mechanism dominated by perspective.The change in viewing had a huge impact on the scientific perception and the reproduction of paintings at that time.The 17th-century painter Vermeer was famous for his camera obscura.His paintings The Astronomer and The Geographer were heavily influenced by this mechanism.Vermeer's use of the camera obsca is first manifested in the spatial composition,that is,the use of the camera obscura's mechanism to realize the reality of viewing;Secondly,as a visual metaphor,the camera obsca forms a cognitive mode with the viewing of characters in the paintings,and further reveals the spiritual characteristics of scientists through the comparison of light and objects in the two paintings.The painting goes from a camera obscrama to scientific cognition,showing the way scientists perceived the world at that time,as well as Vermeer's thinking on scientific cognition.

关 键 词：暗箱 维米尔 《天文学家》 《地理学家》 

分 类 号：J205[艺术—美术]