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以前我们曾听说过艺术历史的终结,既是艺术自身的终结,也是对艺术学术研究的终结.但是,每当人们对那似乎不可避免的终结感伤之时,事物仍在继续,而且通常向全新的方向发展.今天,艺术仍大量产生,丝毫不见减少;尽管与以往相比活力减小、自我怀疑增多,这门学术性学科依然存在.受到严肃质疑的是那个长期以不同的方式服务于艺术家和艺术史家的观念,即一种具有普遍意义的统一的“艺术史”观念.当今的艺术家经常拒绝参与一种正在进行的艺术的历史,这样,他们脱离了一种观念传统,而这一传统是由艺术家乔治·瓦萨里开创的,从许多方面来看,瓦氏为了艺术家的目的而创始这一传统,因为它向艺术家提供了共同纲领.艺术史家的出现要稍晚一些.今天,他们或者接受一种并非自己所设计的历史模式,或者逃避建立新模式的任务,因为他们对此无能为力.艺术家和艺术史家双方都已经对这种理性
We had previously heard that the end of the history of art was both the end of art itself and the end of the study of art, but whenever people were sentimental about what seemed to be an inevitable end, things continued, usually toward the new The art continues to flourish in large part with no diminution in the present, and the scholarly discipline remains despite the diminished dynamism and increased self-suspicion compared with the past, which has been seriously questioned by the artist who has long served him in a different way And the idea of an art historian, a universal notion of “art history.” Today’s artists often refuse to participate in the history of an ongoing art, so that they are out of a conceptual tradition, Was founded by the artist George Vasari and in many ways Valsal initiated this tradition for the artist’s purpose because it provided the artist with a common program. Art historians appeared later and today they Or accept a task that is not a historical model designed by them or evades the establishment of a new model because they can not do anything about it. Art historians have been on this rationality on both sides