潘诺夫斯基把尼德兰绘画的逼真再现视为一种秘密的宗教语言,需要进行解码才能理解,也就是所谓的“伪装的象征主义”。而帕赫特认为,尼德兰绘画的写实主义并不是掩饰宗教内容的面具,而是原来的那些象征符号的物质化和具体化。他坚信,在艺术史中,真理应从眼睛而不是从文字开始,需要一双纯粹观看的眼睛,即“静谧之眼”。“伪装的象征主义”的说法显然把作品视为文本,这种解释模式是“从感知建构走向了知识发现”;帕赫特的“静谧之眼”主张是“从符号和象征回归到感知本身”。 Panovsky regarded the vivid reproduction of the painting of Nederland as a secret religious language that needs to be decoded to understand, the so-called disguised symbolism. However, according to Pakhtüh, Netherland’s realism is not a mask of religious content, but the materialization and concreteness of the original symbols. He firmly believes that in the history of art, the truth should begin with the eyes rather than with the words, requiring a purely watched eye, “the Eye of Serenity.” The term “disguised symbolism” apparently treats works as texts. This mode of interpretation is “from perceptual construction to knowledge discovery.” Pachet’s “Eye of Silence” stands for “ Symbols and symbols return to perception itself. ”