摘要
符号学艺术史是新艺术史的主要代表,是当今艺术史发展的重要趋势。被许多学者视作符号学论敌的贡布里希实际上是符号学艺术史的真正奠基人,他在20世纪30年代初就开始了符号学艺术史实践,在1949年率先提出建构“图像符号学”的设想,并将瓦尔堡、潘诺夫斯基追溯为先驱者,符号学艺术史由此成为“发明的传统”。布列逊始于20世纪80年代的符号学艺术史研究直接受到贡布里希的启发,但他出于“影响的焦虑”,反将后者的图式论歪曲为知觉再现论。布列逊与巴尔建构的“新”符号学艺术史,以故意删除贡布里希的奠基性贡献为代价。布列逊、巴尔与贡布里希在符号观上又存在根本差异,相较于他们极端的反实在论和程式主义,后者持更为严谨而开放的“建构实在论”。
Semiotic art history is the main representative of the new art history and is an important trend in the development of art history today.Gombrich,regarded as the enemy of semiotics by many scholars,began to practice the semiotics art history as early as the early 1930s,and was the first who clearly put forward the idea of constructing“semiotic of the image”in 1949.He traced Warburg and Panovsky as pioneers,and then semiotic art history became“the tradition of invention”.Norman Bryson’s research on semiotic art history,which began in the 1980s,was directly inspired by Gombrich,but his"anxiety of influence"led him to distort the latter’s schematic theory into a theory of perceptual representation.The"new"semiotic art history constructed by Bryson and Mieke Bal comes at the cost of deliberately removing Gombrich’s semiotic vision and foundational contributions.Bryson,Bal and Gombrich have fundamental differences in their symbolic views.Compared with their extreme anti-realism and conventionalism symbolic views,the latter holds a more rigorous and open“constructive realism”.
作者
刘昌奇
Liu Changqi(School of Fine Arts,Shandong Normal University,Jinan Shandong,250014)
出处
《山东师范大学学报（社会科学版）》
CSSCI
北大核心
2023年第6期65-77,共13页
Journal of Shandong Normal University(Social Sciences)
基金
山东省社会科学规划项目“贡布里希艺术学话语体系研究”(22DWYJ23)的阶段性成果。
