Long recognized as one of the most important 18th-century works on the aesthetics of the visual arts, Johann Gottfried Herder's "Plastik" ("Sculpture", 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with a wide range of sources - from the classics to Norse legend, Shakespeare to the Bible - to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. Jason Gaigers translation of "Sculpture" includes an extensive introduction to Herder's thought and illustrations of all the sculptures discussed in the text.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
赫爾德重提洛剋的“莫利紐剋斯”問題，即復明的盲人能否利用以前的觸覺感知在視覺上判斷球與立方體的區彆，企圖將觸覺提升到與視覺和聽覺平起平坐的位置，從而把雕塑和繪畫分離。他甚至認為視覺隻是平麵和幻想，而觸覺纔是真實，是閤成概念和空間認知的基礎。
评分赫爾德重提洛剋的“莫利紐剋斯”問題，即復明的盲人能否利用以前的觸覺感知在視覺上判斷球與立方體的區彆，企圖將觸覺提升到與視覺和聽覺平起平坐的位置，從而把雕塑和繪畫分離。他甚至認為視覺隻是平麵和幻想，而觸覺纔是真實，是閤成概念和空間認知的基礎。
评分赫爾德重提洛剋的“莫利紐剋斯”問題，即復明的盲人能否利用以前的觸覺感知在視覺上判斷球與立方體的區彆，企圖將觸覺提升到與視覺和聽覺平起平坐的位置，從而把雕塑和繪畫分離。他甚至認為視覺隻是平麵和幻想，而觸覺纔是真實，是閤成概念和空間認知的基礎。
评分赫爾德重提洛剋的“莫利紐剋斯”問題，即復明的盲人能否利用以前的觸覺感知在視覺上判斷球與立方體的區彆，企圖將觸覺提升到與視覺和聽覺平起平坐的位置，從而把雕塑和繪畫分離。他甚至認為視覺隻是平麵和幻想，而觸覺纔是真實，是閤成概念和空間認知的基礎。
评分赫爾德重提洛剋的“莫利紐剋斯”問題，即復明的盲人能否利用以前的觸覺感知在視覺上判斷球與立方體的區彆，企圖將觸覺提升到與視覺和聽覺平起平坐的位置，從而把雕塑和繪畫分離。他甚至認為視覺隻是平麵和幻想，而觸覺纔是真實，是閤成概念和空間認知的基礎。
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