Van Gogh’s Painting

Van Gogh’s Painting

 The refusal to isolate and separate is evident in the style of Van Gogh’s painting. His work has often been called “ cosmic”. What, indeed, makes it possible to differentiate at first glance the analytical technique of Seurat from the pictorial vortices of Van Gogh is the linking of the elements of pictorial matter: the same movement of the brush appears to sweep through the whole canvas, submerging it in a continuous wave of furious, emotional painting.

拒絕孤立跟隔離在梵谷的圖畫的風格中頗為明顯。他的作品時常被稱為「宇宙」。

的確,乍看來,唯一可能區別梭瑞的分析性技巧跟梵谷生動的渦流的地方在於他連接生動物質的元素。畫筆的相同動作似乎橫掃過整個畫布,使它潛沒於狂怒的情感的油畫的連續性波濤中。

Van Gogh’s plastic pictorial world, when compared with the analytical conception of a schizoid like Seurate, with the paranoid Dali’s disjointed, precise, formal, hard concrete painting or with the geometric abstractions of Mondrian, is clearly ruled by the viscous. Besides, it is with Van Gogh and his disciples, the Fauves, that oil paint begins to be as a viscous paste rather than as a translucid medium.

跟精神分裂症患者梭瑞的分析性技巧,以及偏執狂達利那種分裂、準確、正式、堅硬混凝土的圖畫,或是蒙得芮的幾何抽象畫比較起來,梵谷的人造的生動畫面很顯然是被黏性所支配。除外,從梵谷及其後輩野獸派畫家開始,油畫成為一個具有黏性的粘貼,而不是一個半透明的油料。

It is important to stress that the agglutinating structure of antiphrasis is the characteristic style of euphemism pushed to its limits. Schizomorphic structures were defined at the outset as structures of antithesis, and even antithetical hyperbole; whereas the vocation of binding, of attenuating differences and making negation disappear by the agency of negation itself, are all constitutive of antiphrasis, which is the ultimate euphemism.

反諷語的黏性結構是委婉化的特有風格被推到極端,強調這一點頗為重要。起初,精神分裂結構被分析為反諷語的結構,甚至是反諷的誇張法,而使用否定的方式來連結,來使區別淡化,甚至連否定都消失不見,就構成了反諷語,那是委婉話的登峰造極。

In mystical language, everything is euphemized; the fall becomes a descent , chewing becomes swallowing, threatening darkness is tempered by night, matter becomes the mother, and tombs become blissful dwellings and cradles. For the great mystics, carnal language coincides with the semantics of salvation, and the same words express sin and redemption.

用神秘的語言,每一樣東西都被委婉化,墮落成為下降,咀嚼成為吞嚥,威脅的黑暗成為夜晚降臨,物質成為大地之母,墳墓則成為幸福的歸宿及搖籃。對於偉大的神秘主義者,肉身的語言跟救贖的語言學相吻合,相同的字眼表達原罪跟救贖。

P264

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero 雄伯

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