模造——串接的思考方式：達彌施《／雲／的理論》的研究

Abstract

本論文旨在探討余伯特．達彌施《／雲／的理論：為了一種繪畫史》一書展示的思考方式。筆者以「模造」來看待此一思考方式，並且指出它變形概念的作法涉及到材料串接、引發對話的多樣方式，有別於固定架構的思考。研究從兩個疑問開展：其一，這本書涉及繪畫史，但它的書寫呈現拼貼性、討論角度不一致性，此一有別於常見繪畫史書寫的用意值得探究。其二，此書與結構主義相關概念之間看似矛盾的關係顯得有待說明。本研究透過切入論述本身的組裝方式來探究這一些問題。各章皆以達彌施對某一個或多個概念的變換操作過程作為探討對象。論文的第一章揭示達彌施書中三個主要概念的變形過程，三個概念為：「形象」、「符號」、「透視」。第二至第五章根據摘錄觀察，提出了四個書中的重要議題來討論。這些都是以作品為主要材料並拉入概念的操作過程。第二章觀察以蘇爾巴蘭、里帕、拉斐爾為例，對「再現」概念的討論。針對「再現」概念，達彌施透過三個例子來勾勒既維繫連結但又給出層層差異的，構成再現的微妙動態。第三章處理結構議題，以喬托、阿爾貝蒂為例。此章除了辨識達彌施所點出的作品結構，更著重其有關結構形成的動態歷程之討論。第四章探討以科雷喬、達文西為例，對於「何謂風格？」的思考。達彌施透過這兩個例子將「風格」指為一種突出既有範疇的動態。第五章探討以塞尚為例引發的「裂斷」議題，點出了達彌施對作品問題的看法和其碎片化的書寫方式的關聯。本研究的發現指出了三種達彌施的思考方式的關鍵操作：並置作品與概念、串接書寫，與縫補概念。三種操作顯現了達彌施的思考方式貼近作品特有的問題性，作品與概念的相對關係，如此的思考作為轉換概念的過程，既有別於否定批判，也有別於直接建立新觀點的作法。此外，模造的思考方式和結構主義的關係，在於結構成為一種工具、一種持續變換的對象。This thesis explores Hubert Damisch's mode of thinking as exemplified in his book Théorie du /Nuage/ : Pour une Histoire de la peinture. Viewing this thinking as a form of “modeling,” I suggest that its conceptual deformations arise from the montage of diverse materials and varied dialogues, distinguishing it from approaches grounded in fixed structures. This study emerges from two key questions. First, given its engagement with the history of painting, the writing of this book displays a patchwork-like structure and constantly shifting viewpoints. The purpose of such unconventional writing style demands closer analysis. Second, the book's seemingly ambiguous relationship with Structuralist thought necessitates clarification. This thesis addresses these questions by examining the way Damisch assembles his writing. Each chapter provides an in-depth analysis of Damisch's modification of one or more concepts. Chapter One identifies the deformation of three key concepts in his discourse: “figure,” “sign,” and “perspective.” Chapters Two through Five address four distinctive subjects outlined by Damisch, identified through close reading. Each subject illustrates a thought process grounded in specific artworks, with concepts juxtaposed to stimulate further inquiry. Chapter Two examines the subject of “representation,” developed through three case studies: Zurbarán, Ripa, and Raphael. Damisch reveals the complex dynamics of representation, demonstrating how it simultaneously establishes connections and proliferates differentiations. Chapter Three explores the subject of “structure,” which consists of discussions of Giotto and Alberti. This chapter explores not only Damisch's analysis of painting structure but also his insights into how these structures come to be. Chapter Four addresses the question, “What is style?” by focusing on Damisch's case studies of Correggio and Leonardo da Vinci. Damisch shows that “style” emerges as a movement of deviation from existing categories. Chapter Five examines the subject of the “cut,” which is drawn from the case of Cézanne's painting. This chapter reveals connections between Damisch's fragmented writing and his take on artworks. The conclusion of this thesis identifies three key characteristics of Damisch's thinking: the juxtaposition of works and concepts, a fragmented, bead-like writing style, and the patchwork manner in which he reconfigures concepts. Together, these tactics create a mode of thought that resonates with the complexity of artworks and their connections with concepts. It transforms concepts while distinguishing itself from criticism and the establishment of new perspectives. Moreover, Damisch's “modeling” process engages with Structuralism through employing structure as a tool, subject to modification and reformation.