在欧洲思想界,本雅明是一个独特的存在。他对技术与艺术问题的思考最终化身为“aura”(光晕)这个术语。他以“光晕”在现代机械复制时代的瓦解、消亡现象为透视点,描绘了被后现代主义理论家所确证的后现代景观。他的理论为后人提供了一系列理论探讨模式,对于我们从美学和艺术学角度深入理解机械复制技术在艺术领域所导致的革命性变化,无疑具有重要的启示意义。 Benjamin is a unique existence in the European mindset. His reflections on technical and artistic issues eventually became the term “aura” (halo). He used the “halo” in the era of modern mechanical disintegration and demise as a perspective, depicting postmodern landscapes that were affirmed by postmodernist theorists. His theory provides a series of models for theoretical exploration for future generations. It undoubtedly has important enlightenment for us to deeply understand the revolutionary changes caused by mechanical replication in the field of art from the perspective of aesthetics and artistry.