艺术史的概念
Art history is the academic study of objects of art in their historical development and stylistic contexts, i.e. genre, design, format, and look. Moreover, art history generally is the research of artists and their cultural and social contributions.
As a term, art history (also history of art) encompasses several methods of studying the visual arts; in common usage referring to the study of works of art and architecture. The definition is, however, wide-ranging, with aspects of the discipline overlapping upon art criticism and art theory. Ernst Gombrich observed that “the field of art history is much like Caesar’s Gaul, divided in three parts inhabited by three different, though not necessarily hostile tribes: (1) the connoisseurs, (2) the critics, and (3) the academic art historians”. Works of art criticism and of art theory frequently have been the pivots upon which the understanding of art history has turned.
艺术史的发展
Art history is a relatively new academic enterprise, beginning in the nineteenth century. Whereas the analysis of historical trends in, for example, politics, literature, and the sciences, benefits from the clarity and portability of the written word, art historians rely on formal analysis, iconology, semiotics (structuralism, post-structuralism, and deconstruction), psychoanalysis and iconography, as well as primary sources and reproductions of artworks as a springboard of discussion and study. Advances in photographic reproduction and printing techniques after World War II increased the ability of reproductions of artworks accurately. Nevertheless the appreciation and study of the visual arts has been an area of research for many over the millennia. The definition of art history reflects the dichotomy within art, i.e., art as history and in anthropological context; and art as a study in forms.
艺术反映古代文明
Ancient Egyptian and Greek societies both made significant contributions to western civilization, specifically in the areas of politics and social structure. The political system of ancient Egypt was primarily based on the religion belief that the Pharaoh was a divine entity, while Greek politics were based on a democratic system that valued individuals in a unique way. The political and social advancements of both Greek and Egyptian civilizations are best reflected in the advancement of each culture’s artwork. In the early kingdom of the Egyptian civilization, the Pharaoh ruled as a God-King and dictated the religion and laws of the land. He promoted a polytheistic religion that was used to explain natural phenomena and life after death. According to this religion, all Egyptians, not only the ruling class, were offered the hope of survival in the next world, as a reward for a good life in the present world.
The idea of a good life is defined by the devotees’ accomplishments in the eyes of Osiris, the judge of the dead. Funeral services were devised to exemplify these beliefs and help to guide the spirit of the dead into the afterlife. The ridged structure of this Theocracy greatly limited individualism in all aspect of life, but most importantly art. The art of the early kingdom was predominantly based on the divinity of the Pharaoh, and his status in society.
古埃及和希腊的社会结构与艺术形式
Although early Greek sculpture highly resembled Egyptian cult statues, distinct differences in design made Greek sculpture remarkably unique, and in consequence showed a major difference in the Greek social structure, and their view of man. The first and probably most important difference of the Greek sculptural design was that the figures were mainly shown as nude. This variation on the basic Egyptian sculpture shows a definite separation from the rigid class system of Egypt. By removing clothes from the human figure, the pure and true identity of the subject is revealed. The subject is no longer seen as a product of society, but as a creation of nature. This view of man was further explored as Greek thought continued to progress. This progress is best shown by examining the change in style from the Kouros, form Attica to the Kritios Boy, from Acropolis. The Kouros showed a definite attempt to reveal the true human form. Although the sculpture put great effort into portraying the real muscle and bone structure of the subject, he still uses the transcendental stare that was so popular in Egyptian relief.
As Greek philosophy progressed, the idea of the human perfection was further explored in the arts. By 490 B.C. the Kritios Boy, from Acropolis was created and the perfect human form was found. The extremely accurate portrait of human anatomy and the realism of the facial expression are
exemplified by the relaxed stance of the figure. For the first time in ancient art, the figure is no longer looking or walking straight ahead. His head and shoulders are shifted to one side while his hips are shifted to the opposite side, and his weight is placed on one leg. This was the most advanced and realistic portrait of a human figure in the history of ancient art, and is a direct reflection of the Greek interest in the true nature of man. The changes in art from the beginning of Egyptian civilization to the early stages of Greek civilization reflect the evolution of human thought and social structure. The Egyptian art of the Old Kingdom portrayed a ridged and powerful Theocracy that gave little room for personal interpretation of art. In the Middle Kingdom Akhenaton lead the first artistic revolution by introducing a new religious system. But after his death, religion and art both returned to the traditional style of the Old Kingdom. The Greeks, however, took on a new view of the heavens in which they put less emphasis on the Gods and more emphasis on the human spirit. This new belief system allowed the Greeks to break away from a rigid social structure and explore the human form in its most pure state.
希腊文明与艺术形式
Greek civilization placed much more importance on individuals, rather than on a single king or God. Greece was broken up into City States and ruled by a number of politicians, much like our present concept of democracy. The religion of the time was polytheistic, but because of the separation of the City States, it never developed the structure of the proceeding Egyptian religion. The Greeks used their religion to illuminate their own lives, rather than to give them divine guidance. They turned to art and literature, rather than prayer, as a means of trying to discover themselves. This emphasis on self spawned new beliefs about man’s order in the universe. Contrary to Egyptian beliefs, the Greeks did not see their Gods as the center universe, and believed that they as humans had some control over their own destiny. The freedom to explore the self allowed the Greeks to make advances in mathematics, philosophy, and art. The advances in philosophy and mathematics had direct influence on the art of the time. This is first seen in the Protogeometric and Geometric art of the first three centuries of Greek civilizations. These unique styles show a meticulous order and precision that was not seen in any proceeding period. As the dominant style changed from Protogeometric to Geometric, this order and precision was amplified. The popular circle and semicircle patterns were replaced by linear designs, zigzags, triangles, diamonds, and meanders. The increased interest in order seems to have been a reflection of the Greek fascination with nature, and man’s relationship to nature. This interest in the order of nature eventually evolved into a fascination with the human form and the idea of human perfection.
艺术评论
Art criticism is the discussion or evaluation of visual art. Art critics usually criticize art in the context of aesthetics or the theory of beauty. One of criticism’s goals is the pursuit of a rational basis for art appreciation.
The variety of artistic movements has resulted in a division of art criticism into different disciplines, each using vastly different criteria for their judgments. The most common division in the field of criticism is between historical criticism and evaluation, a form of art history, and contemporary criticism of work by living artists.
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