真實性與豐富性──阿哈斯論細節

The Truth and Abundance Daniel Arasse on details

本文旨在關注法國藝術史學家丹尼爾．阿哈斯（Daniel Arasse, 1944-2003）如何在既成作品與參照文本之間掌握細節的屬性。細節的真實性與豐富性涉及古典繪畫體系在十三世紀末至十五世紀如何形成，以及如何成為後續演變的關鍵與基礎。阿哈斯論述細節與真實性的關係，以及外在藝術環境對於細節的需求：前者以畫家為主軸，經由作品範例闡述「藝術模仿自然」的起源、習作的實踐與發展；後者以作品為主體，論述十五世紀的階級品味、人文學者的讚頌，以及威尼斯的敘事風格等分化、互斥又交疊的特殊場域對於豐富性的需求。從中可以發現：阿哈斯的藝術史研究工作以畫家與作品為主導、細節為途徑，而非建構在文獻理論為之上。案例先行與碎片式重塑之非線性時間的闡述方式，突顯出阿哈斯對歷史時間的看法，以及其錯時論的觀點與操作：藉由視覺的援引，並列歷史上獨具風格的作品，並通過預期不到的形式組合，改變時間感。細節也從中再現出不同的屬性與層次。

This article aims to focus on how French art historian Daniel Arasse (1944-2003) masters the attributes of detail between the completed work and the reference text. The authenticity and abundance of details relate to how the classical painting system had formed from the end of the 13th century to the 15th century and how it became the key and foundation of subsequent evolution. Arasse discusses the relationship between details and authenticity, and the need for details in the external artistic environment: the former takes the painter as the main axis, and elaborates the origin of ''Ars simia naturae (art imitating nature)'' and the practice and development of the study through examples of the work; the latter takes the work as the main body and discusses the need for richness in the fifteenth-century class tastes, praises of humanitarians, and the divergent, exclusive, and overlapping fields of the Venetian narrative style. It can be found that Arasse’s research work in art history is dominated by painters and established works, with details as the approach, rather than being based on literature theory. Case advance and fragmented remodeling–Arasse’s interpretation method of non-linear time gives prominence to Arasse's view of historical time, and his ideas and operations of anachronism: in its visual citations and references, the work juxtaposes historically distinct styles, and distorts chronological sense through unexpected combinations of forms. From it, the details represent different attributes and levels.