{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","id":"ca7a386a-a284-41ec-b146-be626cc2ac01","uuid":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","normalized_title":"非人漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","isbns":["9787562155560","9782252039427"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":325,"navigation_url":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E4%BA%BA%EF%BC%9A%E6%BC%AB%E8%B0%88%E6%97%B6%E9%97%B4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ca7a386a-a284-41ec-b146-be626cc2ac01","page_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/search"},"page":{"printed_page":143,"pdf_page":163,"physical_index":163,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"b32afdfc4890e2fb46f66ace40b9f4e1143dd8628e6417a68f17a1a164e1ec89"},"chapter":"非人：漫谈时间","content":"4\n\n伴随着崇高美学的发展，19世纪和20世纪的艺术关键在于证明“有非确定物”这件事情。对于绘画，伯克在他对文字力量的观察中所指出的矛盾是，这种见证只能通过确定的方式进行，画布、画框、线条、颜色、空间、形象在浪漫主义艺术里本质上还是屈从于再现的限制。不过，目的和方法之间的对立在马奈和塞尚那里已经起到质疑某些规则的效果，这些规则自15世纪以来就规定着形象在空间里的再现以及颜色和明暗变化的安排。大家去读一读塞尚的书信，就能理解他的作品不是已经找到“风格”的天才画家的作品，而是对“一幅画是什么？”这个问题的尝试性回答。其创作的关键在于只把“色彩感觉”和“小感觉”记录在画布上，根据塞尚的假设，仅仅这些“色彩感觉”和“小感觉”就能构建物体、水果、山、面孔、花儿的全部图像存在，而无须考虑历史或者“主体”、线条、空间，甚至光线。这些基本的感觉被隐藏在仍然受到惯常的或者古典的观看方法支配的普通知觉里。画家若想通达并且因此复原这些感觉，就必须付出一种让知觉和心理场域摆脱视觉偏见的内在艰辛。从观赏者这边来说，如果他不能服从于一种附加的艰辛，画作对他来说就只是一种不可通达的非意义(non-sens)。画家不要为会不会陷入被人看作蹩脚画家的危险而犹豫。“我们为极少数人画画。”相较于画家-探索者及其同辈们对于成功所持有的判断，来自绘画监管体制（学院、画展沙龙、批评、大众趣味）的认可不怎么重要。前一种成功评判的标准是就真正的问题所进行的创作，而真正的问题是：呈现让人得以看见的东西，而不是可见的东西(faire voirce qui fait voir, nonpas ce qui est visible)。\n\n崇高与先锋派\n\n143","previous_page":142,"next_page":144}