Knowing Holbein’s Objects: An Object-Oriented-Ontology Analysis of The Ambassadors

IF 0.3 0 PHILOSOPHY
Zoran Poposki
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Abstract

This article investigates the tenet of Object-Oriented Ontology (OOO) that art, like philosophy, is a form of cognition different from literal knowledge by applying key OOO concepts to the analysis of the Renaissance painting The Ambassadors (1533), a double portrait by Hans Holbein the Younger (1497/98–1543). The Ambassadors is found to exemplify the key principles of OOO in its treatment of objects and their relationships. Through an OOO lens, the painting becomes not merely a literal representation of the subjects and their possessions, but a dynamic interplay of real and sensual qualities that exceeds any straightforward paraphrase. The figures and objects in the work are not simply passive symbols, but active agents that withdraw from direct access, preserving their autonomy and inviting the viewer’s participatory engagement. Holbein’s masterpiece comes alive precisely by troubling its own representational coherence, drawing the viewer into an uncanny encounter with the withdrawn depths of objects. By reading The Ambassadors through an object-oriented framework, the painting exemplifies art’s capacity to operate as a non-literal form of cognition, irreducible to mere symbolic codes or propositional knowledge.
了解霍尔拜因的对象:大使》的面向对象本体分析
本文将面向对象本体论(OOO)的关键概念应用于分析文艺复兴时期小汉斯-霍尔拜因(Hans Holbein the Younger,1497/98-1543 年)的双人肖像画《大使》(The Ambassadors,1533 年),从而研究面向对象本体论(OOO)的信条,即艺术与哲学一样,是一种不同于字面知识的认知形式。我们发现,《大使》在处理对象及其关系方面体现了 OOO 的主要原则。通过 OOO 的视角,这幅画不仅仅是对主人公及其财产的字面再现,而是真实与感性的动态交织,超越了任何直白的诠释。作品中的人物和物品不仅仅是被动的符号,而是主动的媒介,它们从直接接触中退出,保留了自己的自主性,并邀请观众参与其中。霍尔拜因的杰作正是通过对其自身表象一致性的质疑而变得鲜活起来,吸引着观众与对象的抽离深处进行一场不可思议的邂逅。通过以对象为导向的框架来解读《使者》,这幅画体现了艺术作为一种非字面形式的认知而运作的能力,它无法被单纯的符号代码或命题知识所还原。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Open Philosophy
Open Philosophy Arts and Humanities-Philosophy
CiteScore
1.40
自引率
20.00%
发文量
25
审稿时长
15 weeks
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