医生出身的意大利艺术鉴定家乔瓦尼·莫雷里热衷于从绘画中人物的耳朵、手指等细节入手来判定作品真伪,他认为这些贯常被忽略的细节往往蕴含了艺术家的本真个性,难以作伪,正是用这种独特的方法他成功为波提切利等大师作品验明正身。法国史家达尼埃尔·阿拉斯多年来致力于艺术作品中细节研究,区别于“从远处看”的传统宏观艺术史,他主张“从近处看”作品,看一些我们从来没有看见的细节,他甚至写了一本《细节:为了建立一部靠近绘画的历史》,试图构建一部“从近处看”的艺术史。莫雷里和阿拉斯的努力都提醒我们关注艺术作品的细节,细节往往是作品的微言大义所在。循着这一入思路径,我们可以发现艺术中这样一类饶有趣味的现象,即在一件原本神完气足的艺术作品中往往逃“逸”出一两个与作品主题或整体风格迥 Giovanni Morelie, a physician-originating Italian art appraiser, is keen to judge the authenticity of the work from the details of the figure’s ears, fingers and other details. He believes that often overlooked details often contain the artist’s true personality , It is difficult to fake it is precisely with this unique method that he succeeded in identifying Bezccelli and other master works. For many years, the French historian Danielle Arras has devoted himself to the detailed study of the work of art in the past few years and has distinguished itself from the traditional macro-art history of “from afar”. He advocated that “look at the work from a distance” Never saw the details, he even wrote a “detail: in order to establish a history near the painting,” trying to build a “art from the close” art history. Morelli’s and Arras’s efforts remind us of the details of the artwork, which are often the mere words of the work. Following this thinking path, we can find an interesting phenomenon in art that often escapes one or two works of art in a piece of art that was originally divine. The overall style is different