The Fold and the Baroque
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摘要: 德勒兹借用莱布尼茨的“单子”思想，发展出了“褶子”思想。莱布尼茨认为作为单一实体的单子组成了复合的东西，单子是没有广延的。莱布尼茨的动力论和视角主义思想，在德勒兹的褶子思想中得到了进一步的阐发。褶子不仅是单子内部的折叠，而且是单子与单子之间的折叠，这是外部的折叠。褶子不断延伸，延伸不是褶子的消亡，而是褶子的不断变化。正是在这里，德勒兹找到了巴洛克与褶子的共同点，并用褶子定义了巴洛克。巴洛克与本质无关，而是与运作功能和特点相关，它不停地制造褶子。褶子和巴洛克的关键在于弯曲，弯曲才是核心，弯曲在不断地生成。褶子的弯曲特点在巴洛克艺术中不仅使得绘画作品的画面充满流动性和活力，而且令巴洛克风格的建筑带给观者强烈的视觉冲击力。巴洛克艺术作品中的光线则体现出了褶子的折叠特性。光、影的折叠关系，不仅使画面具有空间感，也象征着灵魂和身体的折叠。最后，德勒兹认为，每个单子都从一个不同的侧面展现了宇宙，这种观点是一种从中心到视点的转化，因此不存在中心和边缘之分，这构成了巴洛克艺术的新和谐。Abstract: Deleuze borrowed Leibniz's concept of the "monad" in developing his own concept of the "fold." Leibniz presented the monad as a simple substance that constitutes composites and has no extension. The dynamics and perspectivism of monads are further elaborated in Deleuze's thinking on folds. The fold is not only a folding within the monad, but also a folding between monads, which is external.The fold is constantly extended, and extension does not signal the demise of the fold, but rather its constant changing. It is here that Deleuze finds common ground between the Baroque and folds, and he uses folds to define the Baroque. The Baroque refers not to an essence but rather to an operative function, to a trait:it endlessly produces folds. The key to folds and the Baroque is the bend:the bend is the core, and is constantly being generated. The bending characteristic of folds in Baroque art not only lends fluidity and vitality to paintings, but also strengthens Baroque architecture's visual impact on the viewer. The light in Baroque artworks reflects the folding characteristics of folds. The folding relationship of light and shadow not only gives the picture a sense of space, but also symbolizes the folding of the soul and body. Finally, Deleuze believes that each monad shows the universe from a different side. This view is a transformation from center to point of view, which erases the distinction between the center and the edge, constituting the new harmony of Baroque art.
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