{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"de9b4263-c277-4979-9f00-91fe8d8660f7","title":"差异与重复","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567591363","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"de9b4263-c277-4979-9f00-91fe8d8660f7","id":"de9b4263-c277-4979-9f00-91fe8d8660f7","uuid":"de9b4263-c277-4979-9f00-91fe8d8660f7","title":"差异与重复","normalized_title":"差异与重复","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787567591363","isbns":["9787567591363"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":538,"navigation_url":"https://workshop.closeclaw.top/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7","title_url":"https://workshop.closeclaw.top/ai/title/%E5%B7%AE%E5%BC%82%E4%B8%8E%E9%87%8D%E5%A4%8D","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/de9b4263-c277-4979-9f00-91fe8d8660f7/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/de9b4263-c277-4979-9f00-91fe8d8660f7","page_url":"https://workshop.closeclaw.top/api/ai/books/de9b4263-c277-4979-9f00-91fe8d8660f7/page","search_url":"https://workshop.closeclaw.top/api/ai/books/de9b4263-c277-4979-9f00-91fe8d8660f7/search"},"page":{"printed_page":58,"pdf_page":77,"physical_index":77,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"77ea85197c9e4ccab2afabcbdb94eceae6b4f0af10d71c23034ba13aa9cc888e"},"chapter":"第一章 自在之差异","content":"58\n\n差异与重复\n\n① 参 Odilon Redon,《自我交谈》(A soi-même，Journal，Floury，éd.)，页 63：“在我的作品中是找不到任何造型部分的，我的意思是，本身就可以被客观地知觉的，可以在光与影的法则的指引下通过突出的惯常手段被制造的东西在我的作品中是不存在的……我的全部艺术都限定在明暗法的源泉那里，而且，我的艺术也有赖于抽象线的效果——它是直接作用于心灵的具有深刻来源的力量”。\n\n②【译按】这里暗示的是戈雅的铜版画《理性沉睡，万魔丛生》(El sueño dela razón produce monstruos) 。","previous_page":57,"next_page":59}