Document Type : Original Article
Authors
1 Master of Art Research, Department of Art Research, Faculty of Theoretical sciences and Higher Art Studies, University of Art, Tehran, Iran
2 Associate Professor, Department of Art Research, Faculty of Theoretical Sciences and Higher Art Studies, University of Art, Tehran, Iran.
Abstract
The paint stain(pan) is an analytical instrument in Didi-Huberman`s theory of image. that is ignored as a defect in the image in some approaches like structuralist semiology and Panofsky`s iconography, whereas in the experience of the artist-spectator, one as the producer of the artwork and the other as its viewer, it has an important status, but with an academic juggle becomes invisible. positivist approaches presuppose certain meaning for painting, whereby the hermeneutics trait of stains will lost.To interpret the stains and details of the image that are ignored in positivist art history, Didi-Huberman proposes new aesthetics called "Aesthetics of the symptom" based on Freud's theories instead of Kant's theories. The Aesthetics of the symptom is based on sovereign accident in painting, it means there are some forces that hinder procedure of painting, like conflict between material cause and formal cause. This conflict is like conflict between “ego” and “id” in Freud`s theories but simultaneously is different because in Freud`s theories symptom is a clinical concept but disguised to critical concept in Didi-Huberman`s theories. This transformation takes Didi-Huberman`s theories out from pure psychoanalysis. By referenting to “Unknown Masterpiece” from Honore de Balzac and its protagonist tragic destiny and connect it with concept of symptom and concept of pan, Didi-Huberman makes a strong structure to critc theory of mimesis.Another issue that Didi-Huberman criticizes is positivist art history, in his article: “The art of not describing: vermeer – the detail and the patch” which he writes opposite of Svetlana Alper`s book,” The Art of Describing: Dutch Art in the Seventeenth Century”, he pursues his goals. Didi-Huberman emphasizes on phenomenological effect of patches but simultaneously he wants to say these phenomenological effects have a real signifying structure in their behind, this concealed signifying structure is very important to understand the concept of symptom and its relation with the concept of the pan because this relation makes a connection between semiotics and phenomenology in Didi-Huberman's theories. This moving between semiotics and phenomenology is vital for destroying connection between signifier and signified or between sign and meaning. Also, like the Lacanian subject that split between two impossible choices, moving between opposite fields splits Didi-Huberman`s subject between “seeing” and “knowing” whereby something is lost in each case, so dialectic between seeing and knowing that Didi-Huberman configuration, is not Hegelian dialectic because there is no any synthesis. Finally, this article represents new approache to this part of painting through an analysis of two paintings of Mohassess such as "Fifi Howls from the Happiness"[Fifi Az Khoshhali Zuze Mikeshad] and "The Fall of Ikar"[Soghute Ikar] by presuming painting as a non-determined meaning case, with an analytical-descriptive approach and relying on library sources for clarifying the phenomenological importance of stain as the material cause of painting, according to Didi-Huberman's theory.
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