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فلسفه::
هستی شناسی
There is a definite consciousness of questions of ontology here that are ultimately reflexive.
The split is not merely between inner picture and outer pictures, the split is also manifest in the sign itself which points to two signifieds: the real, particular, identifiable objects referred to, ceramic objects, a religious painting, and their general ontology as sense objects.
We begin to see that, along with his system of analogies, Aretino is playing with a complex ontology of the image which involves paint- ing, painting-in-a-painting (Vecellio's landscape), window view, land- scape, and visionary experience, an ontology that is encrusted with cosmological references.
The following quote exemplifies Danto's approach to art with questions about its ontology using what he calls philosophical dupli- cation:
The picture, brushstroke as duplication of a brushstroke, or paint-as-paint are not only a conun- drum, which in fact elides Danto's binary of the opaque and the trans- parent (the image is both) yet these works also bring into view issues of the phenomenology of ontology (as Sartre would say), a question- ing of the modalities of existence and its interplay with consciousness as a relationship of hide and seek, where one tracks the other in the experience of art.
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