Teksto ir vaizdo flirtas dailėje (filosofinė interpretacija)

LTStraipsnyje nagrinėjama vizualumo problematika, sulaukusi išskirtinio XX a. kultūros tyrėjų, filosofų ir pačių dailininkų dėmesio. Remiantis analitiniu, hermeneutiniu ir fenomenologiniu metodais analizuojama vaizdo ir žodžio santykio problematika. Pagrindinis dėmesys sutelkiamas ties tokiais dailės kūriniais, kurie stilistiškai beveik artėja prie fotorealizmo, – tyrimo objektu pasirinkti vieno originaliausių ir filosofiškiausių XX a. dailininkų belgų siurrealisto René Magritte’o darbai, kuriuose (siur)realistiškai savitai ir naujoviškai traktuojamas teksto ir žodžio santykis. Gvildendami šią problematiką, pasitelksime prancūzų filosofo Michelio Foucault ir rusų filosofo Valerijaus Podorogos tyrinėjimus, kuriuose gilinamasi į Magritte’o dailės ir joje glūdinčių filosofinių minčių subtilybes, nagrinėjamos abipusės sąsajos tarp teksto ir vaizdo. [Iš leidinio]Reikšminiai žodžiai: Vaizduojamoji dailė; Vizualumas; Atvaizdas; Pavadinimas; Visual art; Visual representation; Name.

ENAuthor deals with the issue of visual representation which is particularly popular among contemporary philosophers and artists. In her research, the author uses the analytical, hermeneutic and phenomenological methods and shows different aspects of relationship between visual image and written word. This problem became particularly important with the appearance of photography, which reversed the position of visual representation. Attention in this paper is focused on the kind of paintings that tend to photorealism. The main object of this essay is René Magritte, one of the most original and philosophical painters of the 20th century, and particularly on his series of painting with a pipe. This artist in his (sur)realistic works proposes a very original and innovative interpretation of relations among the text and visual representation. The interpretation disclosed in this paper is based on researches of two well known philosophers – Michel Foucault and Valery Podoroga.These scholars elucidate the issue of visual and verbal representation in Magritte’s art and interpret the philosophical aspects found in his paintings. The author shows how artworks of Magritte were understood by Foucault and Podoroga and how they could be understood and interpreted nowadays. The conclusions are that whether the definitions of visual and verbal representation negate or complement each other depends on which definition will be chosen. Such ambiguity of visual and verbal representation, their flexible, skittish and non-hierarchical relations became particularly popular in contemporary culture. The classical painting was based on a division between linguistic signs and plastic elements. Magritte knits verbal signs and plastic elements together, but without referring them to a prior isotopism. [From the publication]

• Filosofija / Philosophy
• Menotyra / Arts