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本文从对画与物关系的讨论入手,主要借鉴海德格尔对物、作品和艺术作品的概念以及福柯在马奈讲座中所提出的“实物—画”概念,试图揭示绘画并非仅仅是物的表象和复制品,而是自身作为一种物存在着,作为一种维持着其自身坚固性的“实物—画”存在,并试图由此将关于绘画的讨论由各种外在因素的考察转向对绘画得以成为绘画自身的各种内在要素的揭示与分析,使得绘画问题真正作为一个哲学问题呈现在研究者的视野中。
Starting with the discussion of the relationship between paintings and objects, this thesis draws heavily on Heidegger’s concept of objects, works and works of art, and the concept of “object-painting” proposed by Foucault in the Seminar, attempting to reveal that painting is more than mere Is an appearance and a reproduction of things, but exists as a kind of thing itself as a “kind-painting” existence that maintains its own solidity, and attempts to make the discussion about painting from a variety of The investigation of the factors turns to the revelation and analysis of the various internal elements of the painting becoming the painting itself, making the painting problem really appear as a philosophical problem in the field of view of the researcher.