達彌施在批判地繼承潘諾夫斯基透視理論的基礎之上,借助結構主義、精神分析和現象學理論,將透視發展為一種視覺范式,進而在發生學和思想史兩個層面重構了透視理論。作為一種視覺體制,透視成為一種視覺句法,它影響了觀看活動和觀看關系的建構,其價值則體現為意義的生產。作為一種思想史層面的生產,透視成為一個不斷被敘述的"理論客體",從而構筑了關于透視的歷史。達彌施無疑將透視學從藝術史領域推向了更為廣闊的視覺解釋層面,對重新定位透視在藝術史和視覺生產中的作用極具啟示意義。

On the basis of critically inheriting Panofsky’s perspective theory, Damisch developed perspective into a visual paradigm by resorting to structuralism, psychoanalysis and phenomenology, and then reconstructed the perspective theory at the levels of embryology and thought history. As a visual regime, perspective itself becomes a kind of visual syntax, which affects the construction of viewing activities and viewing relations. Its value is reflected in the production of meaning. As a kind of production at the level of thought history, perspective becomes a "theoretical object" which needs to be expounded constantly, thus constructing the history about perspective. Undoubtedly, Damisch pushed the perspective theory from the field of art history to a broader level of visual interpretation, which is of great enlightening significance for relocating perspective in art history and visual production.