Perspective as Symbolic Form pdf epub mobi txt 電子書 下載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).
- 藝術史
- Panofsky
- 視覺轉嚮
- 藝術理論
- 藝術
- 潘諾夫斯基
- 思想史
- 西方藝術史
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.
具體描述
讀後感
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用戶評價
大概是第一本形式研究的文化史書？……"Perspective, in transforming the ousia (reality) into the phainomenon (appearance), seems to reduce the divine to a mere subject matter for human consciousness; but for that very reason, conversely, it expands human consciousness into a vessel for the divine."
评分文筆很好，很多不錯的formal analysis，隻是現在再讀的話argument還行，構建在formal analysis上的論點總覺得不夠硬。
评分今天大傢都把玩笑對象從教授轉到瞭老潘潘身上。阿根廷來的Mabi帶來瞭超好味的麵包，說希望親愛的教授不會介意the curvature。智慧與美貌兼備的教授也改瞭之前的發言順序，因為要呼應古希臘的fish-bone axis。Monica還分享瞭潘潘的愛狗死後他的同事集資為他買瞭新狗狗的八卦。大傢都好nerdy好可愛啊。
评分對透視概念的梳理和曆史演進過程采用的是維柯式的positivistic view，在個人閱讀經驗中此書方法亦正與Auerbach論文藝復興時的perspectiva異麯同工（the "truth revealed through certainty, or philosophy revealed through philology" kind of structuralism——將某種形式元素“抽離”而使之成為某種觀念-心智史主題演進的隱喻）。最為精彩的無疑是對透視的“Bharunda”屬性的透闢分析；在對古典-文藝復興之間的中世紀的論述，從“勢不得不如此”以降，“過渡性”的建構-編織過程便清晰可見，也許是全書製作-詩藝痕跡最重的部分。
评分一直聽說，終於讀瞭。1、縱深透視兩個條件：等質空間&消失點作圖。這種透視隻是將心理空間轉換為抽象形式的純粹數學空間，因而以此為基礎的寫實實際上隻是虛構。2、近代繪畫的兩個側麵的轉嚮：（1）對象麵-描寫主題由宗教曆史嚮平凡的人和風景轉變，瓦解瞭原本崇高的宗教曆史對象，這正是寫實主義的突齣特徵；（2）象徵形式麵-采取透視法以期在二維空間中突顯深度，錶現手法轉嚮以遠近法為基礎的寫實——以第三人稱客觀為手段（實際上是“自我錶現”/反寫實
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