英语学界对意大利文艺复兴时期赋形与色彩之争的认识

Considerations on Italian Renaissance Disegno-colorito Controversy in English Scholarship

作为一对二元范畴,赋形与色彩对西方艺术史的发展和写作有着深刻影响。通常的观点认为赋形与色彩之争发生于意大利文艺复兴时期、以佛罗伦萨与罗马和威尼斯为首的双方之间,在英语学界中以大卫·罗森聚焦于施色和笔触的经典阐释为代表。七十年代以来,以莫里斯·普瓦里耶为代表的学者开始重审这一议题,主张16世纪中叶的意大利并不存在赋形与色彩之争,即使是威尼斯的作家们也没有给予色彩以胜过赋形的价值,而后者依旧是这一时期主导性的概念;所谓的赋形与色彩之争是17世纪下半叶的法国问题。普瓦里耶的观点随后得到了学界的不断确证,而新近有关威尼斯素描的研究在为其佐证的同时,也为进一步的深入提供着契机。

Disegno and colorito,as a binary category,have profoundly impacted artistic practice and historiography in Western art history.The conventional view holds that the disegno⁃colorito controversy occurred during the Italian Renaissance between Florence and Rome on the one hand and Venice on the other,for which David Rosand's classic interpretation focusing on coloring and brushwork is representative of English scholarship.Since the 1970s,scholars such as Maurice Poirier have re-examined this issue,arguing that there was no such substantial debate during the mid-Cinquecento.Even in Venice,authors did not give primacy to colorito over disegno,with the latter continuing to be the dominant concept of the period.The so-called disegno-colorito controversy was a French problem that crystal⁃lized in the second half of the 17th century.Poirier's views have since received continued validation among scholars,while recent scholarship about Venetian drawing provides an opportunity for further exploration.