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本文选自荷兰著名艺术史学家米克·巴尔(1946-)的艺术符号学代表作《解读伦勃朗:超越图文二元论》(剑桥大学1991年版)的第五章《视觉认知:阅读图像,观照故事》。此章通过图像认知来讨论伦勃朗绘画的叙事性,区分了巴尔符号学方法同帕诺夫斯基图像学方法的不同。在巴尔的图像阐释中,“前文本”构成了叙事语境,而同一题材的其它绘画则具有“互文性”作用。在这样的认知框架里,对读画者来说,绘画用喻的修辞方法,是重要的叙事方法。反过来说,对用喻方法的洞悉,也是读者解读视觉叙事的重要方法。因原文过长,此处仅节译原“引言”和后半章的第五-六节。
This article is selected from the fifth chapter “Visual Cognition: Reading Images, Reading Rembrandt: Surpassing Graphic Dualism” (Cambridge University Press, 1991) by Meek Barr (1946-), the masterpiece of artistic semiology in the Netherlands. Watch the story. “ This chapter discusses the narrative of Rembrandt’s painting through image recognition, and distinguishes between the difference between Barr’s semiotics and Parovsky’s method of imagery. In Barr’s image interpretation, ”front text “ constitutes the narrative context, while other paintings of the same subject have ”intertextuality.“ In such a cognitive framework, the metaphorical rhetoric of painting is an important narrative method for the artist. Conversely, insight into the metaphorical approach is also an important way for readers to interpret visual narratives. Because of the long text, only the original translation of ”Introduction" and the second half of the fifth - sixth section.