達彌施對科雷喬與達文西的分析

Damisch's analyses of Correggio and Leonardo da Vinci

本文旨在探討余伯特達彌施在《雲的理論：為了一種新的繪畫史》中對科雷喬、達文西的分析，以此揭示達彌施藉案例啟動論述的特性。本文第一節交代案例在書中的出現，並且辨識牽涉的議題。接著兩小節說明達彌施切入例子的方式：分別引出「肌理」、「不可見的現象與事件」，且都涉及繪畫「模仿」的重新解釋。最後的三小節則釐清達彌施對兩個舉例的評論。研究指出，達彌施討論兩個例子的「運動」、變化跡象，藉此批判了將藝術實踐視作表達規則的附屬物之看法。並相對提出，藝術實踐正是生成不同指涉模式不可或缺之因素。

This essay points out the 'case-based' aspect of Hubert Damisch's discourse in Theory of /Cloud/ via analyzing his treatise on Correggio and Leonardo Da Vinci. The first section provides a preliminary review of the passages related to Correggio and Leonardo Da Vinci regarding their organizational structure and related topics. The following two sections point out the key concepts in Damisch's initial analysis: He respectively raises the aspect of 'texture' and 'the phenomes and events that are invisible in themselves' from the two cases while involving both of them with the redefinition of 'mimesis.' The final three sections pinpoint Damisch's critique of the two cases. The study discloses that Damisch renounces the view that subordinates artistic practice to regulations of expression. Instead, Damisch considers artistic practice as the very element that generates various modes of signification, a view justified by his observation of the two artist's 'movement' and transformative traits.