Author-centered criticism establishes the relationship of“Author-Picture”in art his-tory.This criticism respects the author's genius,that the author is the authority of artistic origin and interpretation.But Berger believes that the emergence of replication technology changes the inherent order of image production,dissemination and acceptance,consequently dispelling the necessary con-nection between author and image.Especially at the stage of digital reproduction technique,“pro-gramming of the author”,collective author,homogenization between virtual replica and the original, and the interactive acceptive style,all these factors mentioned above thoroughly claim the “death”of author authority in the dimensions of production,exhibition and communication of image industries. Publicity for replication technology is not highlighting “technological determinism”in the image criti-cism,but is intended to demonstrate that the emergence of replication technology breaks the balance of image artistic activities in the new practice conditions.Author-centered criticism encounters the crisis in the process of understanding the image,the focus and paths of image criticism occur.With the traditional criticism lost the dominant position,a new ontology has being formed in exploration.%作者中心论的艺术史观，确立了“作者—图像”关系的核心地位，它推崇作者的天才，认为作者是艺术的起源和艺术阐释的权威。但在艺术史家伯格看来，机械复制技术的出现破除了传统批评观中图像生产、传播、接受等内在的固有秩序，破除了作者的权威。尤其进入数字复制技术阶段，“编程化作者”或“集体作者”、虚拟复制品与原作的无差别性以及互动式接受方式，在图像产业的生产、展示和传播等维度彻底宣告了作者权威的“死亡”。对复制技术的张扬并非是在图像批评中凸显“技术决定论”，而是旨在说明在新的实践条件下，复制技术的出现打破图像艺术活动固有的平衡，作者中心论的批评方式在理解图像时出现了阐释的危机，图像批评的重心和路径发生转移。随着旧的图像批评范式逐渐失去主导地位，一种新的图像本体论开始在探索中确立。
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