Perspective as Symbolic Form pdf epub mobi txt 电子书 下载 2025
Christopher S. Wood is Professor in the Department of History of Art, Yale University. He is the author of Albrecht Altdorfer and the Origins of Landscape, and the editor of The Vienna School Reader: Politics and Art Historical Method in the 1930s (Zone Books, 2000).
- 艺术史
- Panofsky
- 视觉转向
- 艺术理论
- 艺术
- 潘诺夫斯基
- 思想史
- 西方艺术史
Erwin Panofsky's Perspective as Symbolic Form is one of the great works of modern intellectual history, the legendary text that has dominated all art historical and philosophical discussions on the topic of perspective in this century. Finally available in English, it is an unrivaled example of Panofsky's early method that placed him within broader developments in theories of knowledge and cultural change. Here, drawing on a massive body of learning that ranges over Antique philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies.<br /> <br /> Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. Yet the perceptual schema of each historical culture or epoch is different, and each gives rise to a different but equally full vision of the world. Panofsky articulates these different spatial systems, demonstrating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is characterized by its peculiarly mathematical expression of the concept of the infinite, within a space that is necessarily both continuous and homogeneous.
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1920-1940
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评分Levin课上振臂惊呼: Panofsky当年在哪里讲的style and media in motion?就在隔壁Marquand！但这都2019年了Princeton还坚持不设media studies！你看这些学校里！绝无仅有！
评分对透视概念的梳理和历史演进过程采用的是维柯式的positivistic view，在个人阅读经验中此书方法亦正与Auerbach论文艺复兴时的perspectiva异曲同工（the "truth revealed through certainty, or philosophy revealed through philology" kind of structuralism——将某种形式元素“抽离”而使之成为某种观念-心智史主题演进的隐喻）。最为精彩的无疑是对透视的“Bharunda”属性的透辟分析；在对古典-文艺复兴之间的中世纪的论述，从“势不得不如此”以降，“过渡性”的建构-编织过程便清晰可见，也许是全书制作-诗艺痕迹最重的部分。
评分一直听说，终于读了。1、纵深透视两个条件：等质空间&消失点作图。这种透视只是将心理空间转换为抽象形式的纯粹数学空间，因而以此为基础的写实实际上只是虚构。2、近代绘画的两个侧面的转向：（1）对象面-描写主题由宗教历史向平凡的人和风景转变，瓦解了原本崇高的宗教历史对象，这正是写实主义的突出特征；（2）象征形式面-采取透视法以期在二维空间中突显深度，表现手法转向以远近法为基础的写实——以第三人称客观为手段（实际上是“自我表现”/反写实
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