“语-图”关系认知是西方现代美学的重要问题,也是导致艺术史与艺术批评写作分野的界碑,一方认为,艺术作品可以被读解;另一方则认为应尊重图像的特性,拥抱图像。艺术写作在这种“读解”和“拥抱”的两极之间振荡,并出现了一些试图超越“语-图”之辨的理论探索和个案写作探索。本文在探讨了利奥塔、罗兰·巴特和W·J·T·米歇尔对“语-图”之辨的理论超越方案后,依次提供了四个试图超越“语-图”之辨的艺术写作个案:夏皮罗的《语词与图画》、克劳斯和博瓦的《无形式》、德勒兹的《弗兰西斯·培根:感觉的逻辑》和T·J·克拉克的《瞥见死神:艺术写作的一次试验》,以期多层次、多维度地展现西方当代艺术写作在理论和实践上超越“语-图”之辨的抱负和广阔图景。 Cognitive relationship is an important issue of Western modern aesthetics and also a boundary marker between art history and criticism of art criticism. One side believes that works of art can be read and the other thinks that the characteristics of images should be respected, Embrace the image. Art writing oscillates between the two poles of this “reading” and “hugging”, and there are some theoretical and case studies that attempt to go beyond the “language - figure”. After discussing the theoretical transcendence of Lyotard, Roland Barthes and WLJ Michel on the dialect of “language-graph”, this article provides four examples of attempts to go beyond “language-graphing” “Shapiro’s” Words and Drawings “, Klaus and Bova’s” Formless “, Deleuze’s” Francis Bacon: The Logos of Feeling, “and TJ Clarke’s ”Glimpse of Death: A Trial of Art Writing“ aims to show the ambitions and broad perspectives of western contemporary art writing beyond the ”language-map" theory and practice in a multi-level and multi-dimensional manner.