书籍介绍
贡布里希以'木马'这一儿童游戏的隐喻为切入点，追问绘画为何能'代表'某物：我们之所以在一幅画里看见一匹马，并非因为画面与实物天然相似，而是因为我们习得了某种图式。这一看似平常的起点，恰恰构成了全书最具颠覆性的论断。本书最耐人寻味之处，在于它拒绝将艺术简化为'看得真'，转而揭示视觉隐喻如何层层累积、承载意义——从文艺复兴放弃黄金以指向更高级价值，到抽象艺术借音乐证明'非具象'亦可成立。它不是一部轻松的艺术普及，而是一场与黑格尔主义、'天然共鸣'论的持续交锋。适合那些不满足于'这幅画很美'、而想知道'我们为何会觉得它美'的读者。
AI导读
核心看点
- 探讨艺术形式根源与视觉隐喻
- 辨析再现与表现两大核心议题
- 批判黑格尔主义民族精神论
读者共识
- 思想深刻，笔触轻松亲切
- 版本质量差，缺图且误字多
- 选译不全，建议寻新版阅读
精彩摘录
- "我选择音乐理论来说明非具象艺术并不是因为音乐是唯一的，而是因为音乐是最古老也是最清晰的非具象艺术。我知道还有别的例如笔迹学 [graphological] 艺术是以符号和笔迹富有表现力的特性为基础，还有烹调艺术则依赖于色素的赏心悦目。 所有这些都含有一定的真理，甚至一丝平凡琐碎。它们应当得到验证。有时甚至应当在实验室里进行验证，以便了解它们究竟能把我们带到多远。我们为什么要固执的坚持科学与艺术之间存在着对立，这种对立只能使艺术变的隐晦本能，而且肯定难以接近理性的讨论，许多科学家都曾证实创造性的梦想在他们的科学工作中所扮演的角色，这些梦想通过艰苦和富有灵感的工作，被捶打成理性的理论。另一方面，许"
- "The Social History of Art, 1953 The Social History of Art, Arnold Hauser (1892-1978) , 1951 Hungarian-Germanart historianand sociologist who was perhaps the leadingMarxistin the field. assimilated Jewish origin. Now within the fantasy-world of Hegel's metaphysical system there was at least a reason "
- "人们以纯宗教的名义拒绝使用灿烂的光和色彩，……但阿尔贝蒂想到的并不是这种简朴。因为文艺复兴时期人们都以为这种放弃在艺术领域的内部可以指向更高级的价值。不管怎样，这种放弃标志着艺术的整个精微化过程的开端，这一过程使西方文明中的艺术摆脱了那种简单的追求感官愉悦的倾向。文艺复兴时期的艺术家们并非轻视黄金，他们只是处处想证明艺术本身能创造出超过黄金的价值。"
- "I am aware of the extreme crudity of thls model and would not dream of saddling anyone with the theory in this form. It is clear for instance, that our Western music has other dimensions than those entered into the diagram, the most important being that between tension and resolution based on the di"
- "The entirely anticipated obviously brings no fresh information; it is the unexpected that is news. This way of looking at signals in terms of their expectedness or unexpectedness has proved fruitful in the analysis of style in music and language. But it may also have its share in the present cult of"
- "One of the weakest points in the theory of natural resonance is this tendency to equate any failure to respond with a failure to understand. 天然共鸣理论的一个致命弱点 就是将未能回应等同于未能理解 的倾向。 Our ability to interpret the emotional imapct of one or the other depends on our understanding that this is the most dissonan"
- "It suggests that the dimensions of louder, of faster and of higher may tend to be experienced as parallel. There are memorable passages in music, such as the climix of Bethoven's Leonora No. 3 in which these dimensions are used to reinforce each other and volume, speed and pitch rise to tremendous t"
- "Perhaps great anger and some sadness would lead to two red, and one blue stamp. Only a fit of reckless fury, however, would break through the rules altogether and affix three red stamps at the gratuitous expense of 1-1/2-d. But in such a fit of extreme expressionist abandon, our correspondent would "
下载
收藏