眼睛是心灵的一部分(上)——里奥·斯坦伯格与他的《文艺复兴艺术中基督的性征与“现代遗忘”》

Eye is a Part of the Mind——Leo Steinberg and his The Sexuality of Christ in Renaissance Art and in Modern Oblivion

本文研究的对象是20世纪的杰出艺术史学者、当代艺术批评家之一的里奥·斯坦伯格（1920～2011）及其著作。斯坦伯格因其渊博的学识、广阔的视野与特立独行的原创精神而受到后人的敬仰；与此同时，在斯坦伯格的整个职业生涯中，“争议”始终不离其左右。不论是作为批评家还是艺术史学家，斯坦伯格都是以悖逆主流的“反派”面目登上舞台的：在当代艺术批评领域，斯坦伯格是打破形式主义垄断的先驱之一；在艺术史学领域，斯坦伯格向传统图像学方法中拘泥于文本，对一般化的“陈词滥调”过分依赖的僵化态度持续地发起挑战。本文将以斯坦伯格在艺术史学领域最负盛名的集大成之作-《文艺复兴艺术中基督的性器官与“现代遗忘”》一书为中心，去了解该书所讨论的主题是什么，他是如何发现问题及解决问题的，后来引起了那些争议，斯坦伯格怎样回应-以及为什么它对20世纪的西方艺术史发展如此重要。分上下两期刊登。

This article is dedicated to Leo Steinberg（July 9, 1920 - March 13, 2011）, one of the most distinguished and influential art historians and art critics of the 20th century. Leo Steinberg was accepted, appreciated and admired for his erudition, wide-ranging scholarly interest and unique ability of original thinking. However, whether as an art critic or as an art historian, Leo Steinberg always made his appeal as a rebel against orthodoxies during his lifelong career. Steinberg was one of the ifrst pioneers to break the monopoly of Greenbergian formalism in art criticism, while he chalenged continualy the discrimination of text to image and the dependence on the old cliches; in either area he was, his positiveness to “subjectivity” marked an obvious difference comparing with the scholars and critics of his earlier generation. I would look into his most praised work-the Sexuality of Christ in Renaissance Art and in Modern Oblivion, aiming at understanding what problem is discussed, how it began and how he solved it, to whom it offended and why the book mattered to the art history of 20th century.