The enduring influence of the architect Gottfried Semper (1803-1879) derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Kunsten (1860-62), here translated into English for the first time. A richly illustrated survey of the technical arts (textiles, ceramics, carpentry, masonry), Semper's analysis of the preconditions of style fo...
The enduring influence of the architect Gottfried Semper (1803-1879) derives primarily from his monumental theoretical foray Der Stil in der technischen und tektonischen Kunsten (1860-62), here translated into English for the first time. A richly illustrated survey of the technical arts (textiles, ceramics, carpentry, masonry), Semper's analysis of the preconditions of style forever changed the interpretative context for aesthetics, architecture, and art history. Style, Semper believed, should be governed by historical function, cultural affinities, creative free will, and the innate properties of each medium. Thus, in an ambitious attempt to turn nineteenth-century artistic discussion away from historicism, aestheticism, and materialism, Semper developed in Der Stil a complex picture of stylistic change based on scrutiny of specific objects and a remarkable grasp of cultural variety.
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Jacques-Ignace Hittorff在1830年前后首度出版了对希腊建筑的多彩色调复原图，这引起古典学界的轩然大波，招来一场艺术家与学者均参与的纸上兵戎。这场论辩对我在此讨论之议题极为重要，因为此前已若干次触碰这个话题，即便显得比较偶然。
Hittorff最近出版的论著叫《多彩之建筑》（l’architecture polychrôme）。这书广泛描述了这场论辩中的许多历史细节，而当今的学者也谈到一部分。我现在姑且提一下它，往后我们有大把机会回到这本书上来。
然而，我在此不得不提及这场纸上论战最重要的一段。比Hittorff早的学者Böttiger在评述普林尼时曾给出一个论断，说古希腊人在他们艺术高峰期时只在木板上作画。古希腊人并不青睐真正的壁画，也不会经常用彩画来装饰建筑。这反而招致了彩画的衰落，而且也是此衰落之病兆。彩画只有到了罗马帝国才广泛采用，在古希腊盛期并未盛行。
这论断的忠实拥趸是Désiré Raoul-Rochette。这人写过一单篇文章，还有一本学究气重而品位残缺的书《未版之古典绘画》（Peintures antiques inédites）。他在这些论著里想方设法辩护了这论断。Antoine-Jean Letronne反对Raoul-Rochette的观点，与此相关的最重要著作是《考古学家致艺术家之信》（Lettres d’un antiquaire à un artiste）。 (查看原文)
1 有用 S 2021-04-29 02:47:46
So rich