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这篇文章发表于50年代初,是贡布里希用德文撰写的、最有特色的理论文章之一。其最大的特点在于,作者用如此短小的篇幅,却把内容和材料都十分丰富的艺术科学给我们交待得一清二楚。它不仅涉及了艺术科学的定义、描述了它的产生和发展,而且还批评了这个领域的各个流派的得失,最终指明了艺术科学的任务和目的。读完此文,相信莫雷利、里格尔、沃尔夫林和瓦尔堡等名字,对读者不再仅仅意味着名字。 本文译自马丁·许尔利曼编《艺术的神密岛》[Martin Hǖrlimann(Hrsg.):Das Atlantisbuch der Kunst,Zǖrich 1952],第653—664页。
This article, published in the early 1950s, is one of the most distinctive theoretical articles by Gombrich in German. Its greatest feature is that the author uses such a short space, but the contents and materials are very rich artistic science to us to make it clear. It not only deals with the definition of art science, describes its emergence and development, but also criticizes the pros and cons of schools in this field and finally points out the mission and purpose of art science. After reading this article, I believe Morelli, Riguel, Wolfgang and Warburg and other names, no longer just means that the name of the reader. This article is based on Martin Xuerliman’s Martin Hǖrlimann (Hrsg .: Das Atlantisbuch der Kunst, Zǖrich 1952), pp. 653-664.