摘要
“图像证史”打破了原本以官方文本为史料的线性历史模式,使图像具备了在作为史料使用中与文本档案同样的合法性,从而开启了一种图像的文化史。同时,“图像证史”也将艺术史从其原有的金字塔中放出来,大大拓展了艺术史的学科边界。通过对彼得·伯克《图像证史》的解读,分析图像文化史与史学、艺术史与图像证史之间的微妙关系,提出由于“图像证史”所引发的艺术史的“非学科”状态将会促使艺术史内部展开一场关于构建新的艺术史阐释方法的实践探索。
"Eyewitnessing"breaks the original linear historical mode of taking official texts as historical materials,and makes images have the same legitimacy as text archives in the use of historical materials,thus opening a kind of cultural history of images.At the same time,the"Eyewitnessing"also puts the art history out of its original pyramid,greatly expanding the disciplinary boundary of art history.Based on the interpretation of Peter Burke's Eyewitnessing,this paper analyzes the subtle relationship between image cultural history and historiography,art history and image history,and points out that the"non discipline"state of art history caused by"Eyewitnessing"will promote a practical exploration of constructing a new interpretation method of Art history.
作者
陆丹丹
LU Dan-dan(Shanghai Academy of Fine Arts,Shanghai University,Shanghai,310105)
基金
上海市哲学社会科学青年项目(编号:2020EWY017)。
