論葛哈•利希特(Gerhard Richter)繪畫中的「模糊」美學洞察

On Blur Vision in the Painting of Gerhard Richter

10.6793/JNTCA.200910.0021

譚力新(Li-Hsin Tan)

葛哈‧利希特Gerhard Richter ； 現代繪畫理論 ； 模糊美學 ； 異質性 ； Gerhard Richter ； theory of modern painting ； blur vision ； heterogeneity

藝術學報

85期（2009 / 10 / 01）

21 - 39

繁體中文

本文希望就德國當代重要畫家葛哈利希特之繪畫作品所具有的一種當代特有的「模糊」(blur)美學傾向進行分析，讓我們得以藉由對這種異質的「模糊」繪畫對現實的不確定性探究和質疑，間接帶起當代文化中的獨特繪畫意涵討論。全文將分成兩大重心來考察，其一是利希特繪畫中的三種模糊美學的向度，說明利希特如何在各時期的繪畫實踐中操作彰顯各層次的「模糊」美學，其中包括了利用模糊去改變抽象畫的意義，以及攝影與繪畫甚至風格的傳統關係。其次則是反思利希特異質的模糊美學，在美學理論脈絡中的特質，特別是經由比較利希特和安迪沃荷，論及重複差異的知覺認知弔詭現象。透過這兩者的相互參照，最後希望能夠從利希特的繪畫中，洞悉模糊美學的異質性思維，以對於當代受限於二元論的可能啟示。

This essay analyzes contemporary influential painter-Gerhard Richter's painting. I will focus on Richter's multiplicity of blur vision. Because the blur vision is fundamental to Richter's painting, it suggested our view of uncertain and limited reality. The main purpose toward the manifestation in Richter's work of blur can brings up complex debate to comprehend contemporary painting. Through reviewing Richter's painting discourse, this paper will divide into two parts to interpret the variety of blur. First of all, Richter's painting could be perceived triple dimensions by manipulating blur vision as models of deconstruction. These aspects appeared in his varied abstract paintings and special relation between photography, painting and style. Secondary, by comparing between Richter and Andy Warhol, I explore the question and argument of serial and multiple images as settlement for contemporary perception. Then I finally conclude that the concept of blur vision reveals aesthetic concern with heterogeneity which redefined our notion of style. Heterogeneity would also play an important role in art to contribute and transcend the ideology of duality.

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