梅洛–庞蒂的“风格”概念——时间性与塞尚肖像

Merleau-Ponty’s Concept of “Style”—Temporality and Cézanne’s Portraits

摘要: 在梅洛–庞蒂那里，“风格”并非单纯的形式特征或艺术家个性的外化，而是一种通过身体知觉生成意义的表达结构。本文以梅洛–庞蒂前期文本中的“风格”(style)概念为核心，重新考察其艺术现象学中的时间性与主体间性问题。不同于研究风格与空间知觉、色彩结构之间的关系，尤其聚焦塞尚静物与风景画的视觉组织探讨的传统面向，本文将梅洛–庞蒂的视角延伸到对塞尚肖像绘画中“他者经验”与时间沉积维度的探讨。尽管在后期文本中，“风格”逐渐让位于更原初的“肉身”(la chair)概念，但风格仍构成了从知觉现象学通向存在论的重要中介。通过对肖像画的时间性与主体间性分析，梅洛–庞蒂的风格研究指向一种人与世界、人与他者之间关系结构的可视化。

Abstract: For Maurice Merleau-Ponty, “style” is not merely a set of formal characteristics or an externalization of the artist’s personality, but rather an expressive structure that generates meaning through bodily perception. Taking the concept of “style” in Merleau-Ponty’s early texts as its core, this paper re-examines the problems of temporality and intersubjectivity in his phenomenology of art. Departing from the traditional focus on the relationship between style and spatial perception or chromatic structure—particularly the visual organization in Cézanne’s still lifes and landscapes—this paper extends Merleau-Ponty’s perspective to explore the dimensions of “the experience of the other” and temporal sedimentation in Cézanne’s portraits. Although in his later texts “style” gradually gives way to the more primordial concept of “flesh,” style nevertheless constitutes an important mediator from the phenomenology of perception to ontology. Through an analysis of temporality and intersubjectivity in portrait painting, Merleau-Ponty’s study of style points toward a making-visible of the relational structures between man and the world, and between man and the other.