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从视觉艺术的当下在场性,罗斯金把风景画研究作为是一种出于人性的,而且更进一步说,合乎十九世纪人性的现实。他对风景画,尤其是十九世纪英国风景画的集中关注,以英国民族性的形成为其最切近现实的反思和考察基点。这种批评的历史观是从视觉本身出发呈现出来的,风景画及其美学,是人本身的一种关于历史的观念,即美学和艺术作为一种思想的历史。这种基于绘画表现的探究方式,因此是一种新的关于艺术和历史的思想观,其历史性的态度及结论为我们对十九世纪史学思想的考察提供了一个延伸的背景。
From the present presence of visual arts, Ruskin regards the study of landscape as a kind of humanity, and further, in line with the reality of humanity in the nineteenth century. His focus on the landscapes, especially the nineteenth-century English landscapes, centered on the formation of British nationality as the most realistic reflection and study. The historical view of this criticism is presented from the perspective of the visual itself. The landscape painting and its aesthetics are human’s own ideas about history, that is, the history of aesthetics and art as a kind of thought. This inquiry-based approach to painting is therefore a new concept of art and history, and its historic attitude and conclusion provide an extended background for our examination of 19th-century historical thoughts.