本文試圖回溯繪畫圖像中「可見」與「不可見」辯證的概況，以此重構當代圖像闡釋的方法學。首先，探討西方三大文化範疇的圖像辯證表現：基督宗教傳統中聖像畫的主題，古希臘模仿再現的論證，現代圖像學以象徵符號等同圖像符號的方法學。此回溯凸顯現代圖像學之後，圖像如文字般被認知，忽略形成圖像符號經驗的現象。因此，重回圖像將是本文討論的重點，並將援引當代法國藝術史家迪迪－郁伯曼，回到早期圖像學家瓦堡的理論，重新探討圖像符號形成意義的過程，並銜接症狀的方法學，闡述有關當代繪畫的可見與不可見的相關論證。

The goal of this thesis is to reconsider the methodology of interpretation about contemporary image in painting, which is delivered through the dialectic to visible and invisible. The opinion about that will be discussed in the context of three major ranges of western culture, the theme of Icon from Christian tradition, the origin and its representation in the context of ancient Greek, and the equivalent of symbol and image as symbol and words in terms of modern Iconology. Initially, it is easy to catch an impression that image could be recognized as words, however that indicated the misunderstanding about knowing image by lacked the process of our sense from seeing it. Furth more, French contemporary art historian Georges Didi-Huberman’s image theory symptom will be introduced. And that is inspired by early Iconologist Aby Warburg’s scheme about image it also could be seen as a retrieving of some kind of methodology that is how image symbol has formed through the process of sense. However, that is a stand point of dialectic of visible and invisible contemporarily.