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本论题所关注的核心,不是某一艺术家、艺术流派或艺术作品,而是关注一种关于“目光”的历史性转变,或者说,本文的论题就是人们(包括艺术家和艺术公众)看画方式乃至看整个世界的视觉模式的一次转变。这次转变,源自于摄影术发展的时代,但本文关注的不是摄影技术本身的发展细节,而是着重探讨一种以往的“目光”与我们今天习惯了的“目光”之间有着怎样的区别和联系。笔者把照相术兴起之前的那种“目光”的特征,描述为“戏剧感”或“如戏”的目光,在我们今天看来同样是“再现性”的主题性创作,其实在19世纪30年代到80年代之间经历着一场目光的剧变,事实上,这次目光的转变不仅影响到绘画,也包括戏剧、照相、电影、电视乃至整个人类的视觉文化。
Instead of focusing on an artist, art genre or artwork, the focus of this thesis is on a historical shift about “vision ” or the thesis of this article is that people (including artists and the public) look at Painting mode and even look at the world’s visual mode of a change. This shift stems from the era of photographic development, but the focus of this article is not on the details of the development of photographic technology itself but on a priori “look” and the “gaze” we are accustomed to today What is the difference between and contact. The author’s description of the “gaze” before the rise of photography is described as the theme of “drama” or “drama”, which is also the theme of “reproducibility” today Actually, sexual writing actually underwent a dramatic upheaval between the 1830s and the 1880s. In fact, this shift of eyes not only influenced painting but also the visual culture of drama, photography, film, television and even human beings .