{"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":208,"pdf_page":228,"physical_index":228,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"4b2e3c56588a22610b4f6f6d3354c364a8af1810628cee590b668ece05d68a9d"},"chapter":"非人：漫谈时间","content":"可是我不太明白：如果颜料真的完全不依靠它在错综复杂的感性状态和理性含义中可以取得（而在某种意义上说从未取得）的位置，为何这种重要性，绘画的唯一重要性，这种物质的在场，必然会失利于这样的事情上——墙上的黄色是挂在一个博物馆里而不是其他地方—呢？不过正是由此，绘画博物馆的情况不同于其他博物馆的情况，不同于许多其他博物馆的情况。根据的就是博物馆展出颜料这个事情，这个事情本身求助于颜色在再现之外的在场。我们对博物馆的所有期待就是它不阻碍获得征服的状态，而且同时极其突出自己。\n\n最后，为了不引起混淆，我坚持明确指出：当我说颜色时，这指的是所有绘画物质，从线条开始算起。在古代的日本书法里，用毛笔画出的线条并不是三维图意义上的线条。而对于伊夫·克莱因的印痕作品，我们又会说些什么呢？\n\n208\n\n/非人：漫谈时间\n\n1 这里指普鲁斯特在《追忆似水年华》的第五卷《女囚》里借伯格特(Bergotte)之口描述了弗美尔这幅画，尤其是画里的黄色。——译者注","previous_page":null,"next_page":209}