摘要
法国艺术史家爱德华·波米耶在考察法国大革命时代的艺术话语时认为,1789年的法国没有艺术史。受古典主义观念的影响,当时的论者多认为存在某种超时间的美学典范,希腊古典艺术尤其是这一典范的化身。这种话语存在贬损法国民族历史遗产的潜在后果。但在革命时代的遗产保护中,逐渐萌生出一种肯定中世纪艺术遗产的独特性、认识其时代性的朦胧意识;古典楷模在政治—艺术方面遭遇的困境,也促使学者以创造性的方式理解古典艺术的当下意义。这些思想动向促进了对艺术遗产的历史化理解,应被视为历史主义思潮之酝酿的一个重要方面。
In his study of artistic discourse in the age of the French Revolution,French art historian Edouard Pommier argues that there was no history of art in France in 1789.Influenced by classical notions,most commentators of the Revolutionary age believed in the existence of some kind of intemporal aesthetic paragon,of which classical Greek art in particular was the embodiment.This discourse had the potential consequence of denigrating the historical heritage of the French national past.However,a sense of affirming the uniqueness of medieval art and recognizing its epochal character gradually developed in the context of heritage preservation during the Revolutionary era;the political-artistic dilemmas encountered by the classical exempla also prompted scholars to understand the present-day significance of classical art in creative ways.These ideological movements have contributed to a historicized understanding of artistic heritage,and should be seen as an important aspect of the emergence of historicist thinking.
作者
黄艳红
赵艺徽
HUANG Yanhong;ZHAO Yihui
出处
《上海师范大学学报(哲学社会科学版)》
北大核心
2025年第3期133-144,共12页
Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)
基金
国家社科基金重点课题“10—12世纪法国封建社会研究”(20ASS005)。
