论文部分内容阅读
大致前一百年,几乎所有艺术史和建筑历史研究的重要成就的获得,都是在黑格尔影响之下。从Strzy-gowsk、Burckhardc、Riegl、沃尔夫林(Wolfflin弗兰克尔(Frankl)、Whittkower,佩夫斯纳(Pevsner)或Giedion到当代的学者,研究建筑历史学的历史就是重新解释“显现”(representtion)和“理念”(ldea)的概念的历程,始终属于黑格尔理想主义的遗教之内。黑格尔提出了“理念的显现”,以反对古典的“自然的模仿”的范畴,古典和文艺复兴时代坚信艺术的任务是模仿自然;而且事实上,艺术的卓越就存于高明地和恰当地模仿自然。黑格尔的对“摹似”(mimesis)的古典范畴的批判,如同他对康德的艺术无利害(disin-terestedness)的理论的批判一样,目的是把艺术从多少世纪争论不休的形面上学的领域中解脱出来。黑格尔
In the first hundred years, almost all the important achievements in the study of art history and architectural history were under the influence of Hegel. From Strzy-gowsk, Burckhardc, Riegl, Wolfflin (Welfflin, Frankl, Whitkower, Pevsner) or Giedion to contemporary scholars, studying the history of architectural history is to reinterpret “revealing” ( The course of conception of conception and “Idea” has always belonged to Hegel’s Idealist canonization. Hegel proposed the “Presentation of Ideas” to oppose the classical category of “Natural Imitation”, classical In the Renaissance era, it was firmly believed that the task of art was to imitate nature; and, in fact, the excellence of art existed in the wise and proper imitation of nature.Hegel’s critique of the classic category of mimesis was as he Like Kant’s critique of the disin-terestedness theory, the purpose is to free art from the field of linguistic metaphysics that has been arguing for many centuries.