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在透视法的论证中,潘诺夫斯基综合了他在20世纪20年代的一系列理论探索与具体的艺术史研究,提炼出一种独特的关于西方艺术的历史哲学及问题范式,据此扩大了前人提出的透视法定义,并由此立论解释线性透视,结合古典时期遗存至今的图像及其文献证据,进而推论出古典角透视;将《作为“符号形式”的透视》作为参照,我们能够更加深入地理解当今艺术理论之争议的性质及其趋向。
In the demonstration of perspective, Panovsky synthesized his series of theoretical exploration and specific art history studies in the 1920s to extract a unique historical philosophy and problem paradigm about Western art. Expands the definition of perspective law proposed by the predecessors, and from there, it interprets the perspective of linear perspective, combines the images preserved from the classical period up to now and the literature evidences, and then deduces the perspective of classical perspective; using “as a symbolic form” “perspective” as With reference, we can understand more deeply the nature and tendency of the controversies in today’s art theory.