圖書標籤: 藝術史 藝術理論 透視 於貝爾·達彌施 建築理論 藝術 透視法 繪畫
发表于2024-11-22
The Origin of Perspective pdf epub mobi txt 電子書 下載 2024
In part a response to Panofsky's Perspective as Symbolic Form, The Origin of Perspective is much more. In France it is considered one of the most important works of art history to have appeared in the last twenty years. With the exception of Michel Foucault's analysis of Las Meninas, it is perhaps the first time a structuralist method such as the one developed by Claude Levi-Strauss in The Way of the Masks has been thoroughly and convincingly applied to Western art.
The task Damisch has set for himself is to refute both the positivist critics, whose approach makes up the bulk of perspective studies and is based on a complete repression of Panofsky's early work, and the current pseudo-avant-gardist position (whether in the field of cinema studies or in literary criticism), which tends to disregard facts and theoretical analysis.
Damisch argues that if a theoretical analysis of perspective is possible, using all the tools of structuralist semiotics, it is only possible in the context of a close look at its appearance in history, beginning with the details of the "invention" of perspective.
In the first part Damisch reassesses Panofsky's account, considered here as the theoretical starting block. While he appreciates the extraordinary depth of Panofsky's text, Damisch exposes its shortcomings, and prepares to show through various examples that perspective in painting is not simply a matter of verisimilitude, but of thought, the notion of "thought in painting" being at the core of his work.
The second part of the book brings the historical invention of perspective into focus, discussing the experiments with mirrors made by Brunelleschi, connecting it to the history of consciousness via Jacques Lacan's definition of the "tableau" as "a configuration in which the subject as such gets its bearings.".
In the third - and most pointedly structuralist - part, Damisch traces the history of the "perspective paradigm," with a full discussion of the theoretical implications of its constitutive moments, in a brilliant analysis of the three known panel paintings of the "ideal City" produced in the quattrocento, in Piero della Francesca's works, in Carpaccio's works, and finally in Velasquez's Las Meninas.
Damisch保留瞭帕諾夫斯基對透視的基本論點,即透視法關乎“構建”勝過“再現”,因為外在的世界依賴著而非脫離主體(即觀者)存在。同時,Damisch引入瞭拉康的“象徵秩序”,認為滅點與視點在平麵幾何中重閤,有著“他者”的價值。最喜歡的部分是將繪畫透視類比與舞颱透視,從圖像學層麵展開討論,但最終深入兩者所采用的透視法結構上進行比較,道齣觀者的位置並不決定透視的圖像,決定外觀的是地平綫的高低,即幾何秩序。作者從帕諾夫斯基的象徵形式齣發,卻又超越瞭帕對阿爾貝蒂理論的過度依賴,指齣十五世紀末至十六世紀初的三幅“烏爾比諾透視”作為一組互相關聯的係列如何與布魯內萊斯基的洗禮堂原型産生關係。Damisch的結構主義旨在超越圖像學、作者、斷代。
評分Damisch保留瞭帕諾夫斯基對透視的基本論點,即透視法關乎“構建”勝過“再現”,因為外在的世界依賴著而非脫離主體(即觀者)存在。同時,Damisch引入瞭拉康的“象徵秩序”,認為滅點與視點在平麵幾何中重閤,有著“他者”的價值。最喜歡的部分是將繪畫透視類比與舞颱透視,從圖像學層麵展開討論,但最終深入兩者所采用的透視法結構上進行比較,道齣觀者的位置並不決定透視的圖像,決定外觀的是地平綫的高低,即幾何秩序。作者從帕諾夫斯基的象徵形式齣發,卻又超越瞭帕對阿爾貝蒂理論的過度依賴,指齣十五世紀末至十六世紀初的三幅“烏爾比諾透視”作為一組互相關聯的係列如何與布魯內萊斯基的洗禮堂原型産生關係。Damisch的結構主義旨在超越圖像學、作者、斷代。
評分Damisch是不是有點太迷Panofsky瞭?Symbolic order和symbolic form還是不大一樣的。。以及句子為什麼那麼長,是譯本的問題嗎,句子真的好長。
評分一個尋常的關於“看”的現象,一個不尋常的發展史,這是靈魂附體,還是靈光乍現?且聽DAMISCH娓娓道來
評分Damisch是不是有點太迷Panofsky瞭?Symbolic order和symbolic form還是不大一樣的。。以及句子為什麼那麼長,是譯本的問題嗎,句子真的好長。
Anglo-American art history barely registered the passage of Structuralism. This philosophical movement, which had such profound reverberations for other fields in the humanities, most notably linguistics and anthropology, was resolutely ignored by most art ...
評分Anglo-American art history barely registered the passage of Structuralism. This philosophical movement, which had such profound reverberations for other fields in the humanities, most notably linguistics and anthropology, was resolutely ignored by most art ...
評分Hubert Damisch的《透视之源(the Origin of Perspective)》一书试图以结构主义的视角将透视看做是一个自洽的象征系统,以此来反对艺术史研究中将透视看做一种作画工具的惯例。在Damisch看来,“再现”并不是作画的主要目的,透视更不是仅仅完成准确“再现”的科学手段。透视...
評分Hubert Damisch的《透视之源(the Origin of Perspective)》一书试图以结构主义的视角将透视看做是一个自洽的象征系统,以此来反对艺术史研究中将透视看做一种作画工具的惯例。在Damisch看来,“再现”并不是作画的主要目的,透视更不是仅仅完成准确“再现”的科学手段。透视...
評分Hubert Damisch的《透视之源(the Origin of Perspective)》一书试图以结构主义的视角将透视看做是一个自洽的象征系统,以此来反对艺术史研究中将透视看做一种作画工具的惯例。在Damisch看来,“再现”并不是作画的主要目的,透视更不是仅仅完成准确“再现”的科学手段。透视...
The Origin of Perspective pdf epub mobi txt 電子書 下載 2024