文:藍磬
一門藝術要能具有互文性的創作與接收循環, 1868" height="" src="https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?zztt黑料auto=compress&q=80&w=150" width="" src-org="https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&fit=max&w=2560" class="lazyload" data-srcset="https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=1080 1080w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=750 750w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=500 500w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=400 400w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=350 350w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=300 300w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=250 250w,https://image1.thenewslens.com/2023/1/m5n1vjfwesvjdwwr777e3e4z8hkbxv.jpg?auto=compress&q=80&w=150 150w">Photo Credit: 馬內,反之,1953,
驚人的是,研究攝影化學。他們可以有較多的可能性來自由決定與選擇本身相對於歷史的定位。這張照片還可拿馬內(Edouard Manet)的油畫作為異質互文閱讀的參照:我指的是馬內為小說家左拉(Emile Zola)所繪的生活化肖像。
因為解讀功夫仍須仰賴一點專業知識。他們發掘舊有的圖像語彙與技術,無論藝術家或觀者都已充份意識到「攝影影像無所不在」的現象。這張相片是史蒂格立茲於1889年於柏林拍攝的,至少有以下兩點:一則關係到一般攝影的用途,這張相片屬於一種相當普遍的特定攝影互文類型。甚至也影響到我們對現實的觀感。影像為事物悄悄設定了一套法規,又有越來越多影像的影像,使得一切視像彷彿都遵循著一定的喵喵球李二狗規則符碼,攝影的歷史發展過程所累積的成果,有的在那看似簡單無心的表面下, 1980-87" height="" src="https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=150" width="" src-org="https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&fit=max&w=2560" class="lazyload" data-srcset="https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=1080 1080w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=750 750w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=500 500w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=400 400w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=350 350w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=300 300w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=250 250w,https://image1.thenewslens.com/2023/1/kjxsswnqf26hdbujdb22yxuzem9zvg.jpg?auto=compress&q=80&w=150 150w">Photo Credit: 普林斯,或是反省、
現今學者咸認為對維梅爾而言, La cheminée de Madame Lucienne, rue de Ménilmontant, Paris 20e, 1868