{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title":"分裂分析德勒兹 先验经验论与建构主义","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","id":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","uuid":"4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title":"分裂分析德勒兹 先验经验论与建构主义","normalized_title":"分裂分析德勒兹先验经验论与建构主义","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":327,"navigation_url":"https://workshop.closeclaw.top/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","title_url":"https://workshop.closeclaw.top/ai/title/%E5%88%86%E8%A3%82%E5%88%86%E6%9E%90%E5%BE%B7%E5%8B%92%E5%85%B9%20%E5%85%88%E9%AA%8C%E7%BB%8F%E9%AA%8C%E8%AE%BA%E4%B8%8E%E5%BB%BA%E6%9E%84%E4%B8%BB%E4%B9%89","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d","page_url":"https://workshop.closeclaw.top/api/ai/books/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4bd1f0d7-8363-46b4-a5b5-0c3ef555a01d/search"},"page":{"printed_page":252,"pdf_page":283,"physical_index":283,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"425c1e8a9722639f47c8dd58cea10cc4e710c31b01bbef0fabc4ecd8c0d4ca5a"},"chapter":"第三章 起源与重复","content":"影像是实际与虚拟这两股力量的相遇，关于这点似乎没有人比西班牙画家格列柯更得个中三昧。他的作品中总是呈现两个最遥远平面间不可分离的联系，但我们看到的却不是简单的对立、分隔或冲突，而是两股强大力量相遇撞击所激发的事件。在著名的《报喜》(L'Annonciation)中，画面分裂成两个界限平面：上半部是庄严祥和、乐声回荡的天界，下半部则是沉静虔信的处女玛利亚与她所处的人间。令人诧异的是，在天界一人间这两个平面接合处喷出了一股疾风，绽出一片铭黄圣光，一只白鸽夹带着翻腾而出的云涌从中鼓翼而出。我们震慑于这幅杰作中虚拟(天界)与实际(人间)之间充满强度与张力的组合，但影像的虚拟性或许来更来自两个界限平面接合瞬间所激起的暴烈能量与速度。无疑的，格列柯以近乎不可思议的手法组合了两个不同平面，借此呈现基督教史上最重要的事件之一。距离最远的两个平面在格列柯的影像中被给予了最迫近的关系，画幅正中央崩裂而出的光源照亮了二者，使画中现实成为可能。\n\n分裂分析德勒兹\n\n252","previous_page":251,"next_page":253}