The Origin of Perspective 2024 pdf epub mobi 电子书

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发表于2024-05-06

The Origin of Perspective 2024 pdf epub mobi 电子书

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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 ...

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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...

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出版者:The MIT Press

作者:Hubert Damisch

出品人:

页数:477

译者:John Goodman

出版时间:1995-8-4

价格:USD 40.00

装帧:Paperback

isbn号码:9780262540773

丛书系列:

图书标签: 艺术史艺术理论透视于贝尔·达弥施建筑理论艺术透视法绘画

The Origin of Perspective 2024 pdf epub mobi 电子书图书描述

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.

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Damisch保留了帕诺夫斯基对透视的基本论点，即透视法关乎“构建”胜过“再现”，因为外在的世界依赖着而非脱离主体（即观者）存在。同时，Damisch引入了拉康的“象征秩序”，认为灭点与视点在平面几何中重合，有着“他者”的价值。最喜欢的部分是将绘画透视类比与舞台透视，从图像学层面展开讨论，但最终深入两者所采用的透视法结构上进行比较，道出观者的位置并不决定透视的图像，决定外观的是地平线的高低，即几何秩序。作者从帕诺夫斯基的象征形式出发，却又超越了帕对阿尔贝蒂理论的过度依赖，指出十五世纪末至十六世纪初的三幅“乌尔比诺透视”作为一组互相关联的系列如何与布鲁内莱斯基的洗礼堂原型产生关系。Damisch的结构主义旨在超越图像学、作者、断代。

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看得头大，太难读了。而且感觉和MP的路子也不一样，和拉康反而更有联系一些。

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Damisch是不是有点太迷Panofsky了？Symbolic order和symbolic form还是不大一样的。。以及句子为什么那么长，是译本的问题吗，句子真的好长。

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The Origin of Perspective 2024 pdf epub mobi 电子书