在一本有趣的艺术史书《我们什么也没看见》中,作者丹尼尔·阿拉斯对于学院式知识的艺术解读进行了批评。从委拉斯凯兹、提香、勃鲁盖尔到丁托列托,作者用一系列艺术史上的经典作品,调侃了所谓“解读”是如何蒙蔽作品本身进行的误读,同时告诉读者—其实绘画艺术想要昭示给我们的,我们并没有真的“看见”。阿拉斯看来对于绘画误读的方式,正是中国艺术评论的中心价值观,一边是符号学方法,正如福柯所分析的委拉斯凯兹的《宫娥》,另一边则是图像学方法,其代表即为贡布里希。 In an interesting art history book “Nothing We See”, author Daniel Arras criticized the art interpretation of college-style knowledge. From Velazquez, Titian, Bruegel to Tintoretto, the author uses a series of classic works in the history of art to ridicule how the so-called “interpretation” misleads the misunderstanding of the work itself and at the same time tells Readers - In fact, the art of painting wants to show us that we do not really “see”. Arras’s view of the misunderstanding of painting is exactly the central value of Chinese art criticism. On the one hand, it is a semiotic approach. As Foucault analyzed Velazquez’s Gong E and the other side is the method of imageology, Its representative is Gombrich.