从艺术史学到视觉研究的嬗变

艺术史学发展的各个阶段都具有鲜明特征：瓦萨里以艺术家为叙事中心建构出理性的迪塞诺系统;温克尔曼以时代精神为中心开启艺术史与历史叙事以及文化史研究交互影响的模式;维也纳学派将焦点转向艺术形式本身并开始强调眼睛、视觉以及与形式构成的视觉机制等问题;视觉研究将注意力瞄准视觉及其运作机制,在反思艺术史的基础上建构视觉研究范式;等等。而在进阶式发展脉络之下也存在一条隐性线索,从《名人传》对艺术家的种种描述到艺术作品的形式分析以及对观者目光的强调,再到当下以视觉及其运作机制对文化建构的主导作用为研究主旨,艺术史研究也分别经历以艺术家、艺术作品、艺术观者与视觉机制为研究对象的这四个阶段。依此背景,本文将从宏观视野讨论艺术史学现代范式在欧洲向全球、德语向英语、历史阐释向视觉研究的转渡;从微观视野分析与讨论艺术诸要素以及结构关联性在宏观转向过程中所形成的种种结构性调整;进而,展现出艺术史学诸转向的学理性以及从叙事性的艺术史研究到建构性的视觉研究的发展脉络。

Art historiography in different stages of development has dis- tinct characteristics, such as Vasari＇s Designo system, Winckelmann＇s re-search mode centered on historical narrative and cultural history, Vienna Art History School＇s stressing visual principle consisting of form and visual per- ception, and so on. In this development process, Art historiography has gone through four phases in which artist, work, beholder and visual principle are taken as the research object respectively. Against this background, this article discusses the transformation of these research paradigms from Europe to globe, from German to English, and from historical narrative to visual re- search, and shows theoretical clue and historical development of the transfor- mation from Art historiography to Visual Research.