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要明确现代艺术史究竟诞生于何处,是瓦萨里还是温克尔曼,又或者是其他艺术史作者,我们必须解决这样一个问题,即传统艺术史与现代艺术史的区别在哪里?这其实是对现代艺术史写作判断标准的探讨。可以想象,现代艺术史是传统艺术史延续和发展的必然结果,而这样的转变过程,就像是艺术史写作者们在艺术史这片雪地上留下的一条长长的足迹,顺着这条足迹寻找,也许我们就能发现,其中哪一个脚印对艺术史写作来说,是具有决定意义的。让我们首先从瓦萨里和他的《画家、雕塑家和建筑家名人传》开始。
To clarify exactly where modern art history was born, Vasari or Winkelman, or other authors of art history, we must address the question of where is the difference between traditional and modern art history? In fact, it is a discussion of the criteria for judging the writing of modern art history. It is conceivable that the history of modern art is the inevitable result of the continuation and development of the history of traditional art. Such a process of change is like a long trail left by art writers in the snow of art history. Looking for a footprints, maybe we can find out which one of the footprints of art history writing, is of decisive significance. Let’s begin with Vasari and his “Biography of Painters, Sculptors and Architects”.