| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 美术是懂得人类社会的一把钥匙。我们不克不及奢望美术著作能展现相干时期那纷纷庞杂、搜罗万象的汗青全貌，然则，德语论文，透过一些具有代表性的艺术家和他们的著作，有时是可以领略到特准时代和社会的某种不雅念和精力生涯措施的特色的，而反过去讲，从文明史视野动身，去懂得和熟悉一个时期的社会和文明精力的面孔，有助于我们深刻地舆解和熟悉这个时期的艺术家和他们艺术发明。这同样成为了维也纳美术史学家马克斯·德沃夏克(Max？Dvorak，1874‐1921)艺术史学摸索和研究进程中的一个主要特色。20世纪初，德沃夏克是亲眼目击了天然主义在艺术中阅历的危机的，维也纳分别派、意味主义和德国表示主义的鼓起，给他带来伟大冲击，促使他开端从新思虑和定位本身的艺术史研究的视野和办法，一种奇特的艺术史学思惟作为精力史的美术史，促使他把各个时期的艺术视为精力史的一种反应，这对后来的东方古代美术史学的成长发生很年夜的作用，最近几年来，国际外都揭橥了一些有关德沃夏克艺术史学思惟研究的论文，国外学者的研究多表示出一种试图重构德沃夏克思惟与19、20世纪之交德语地域古代艺术创作及学术思惟语境的联系关系的尽力，国际的学者，则是着重在对德沃夏克艺术史办法论层面的引见和相干文献的整顿上，本文的写作起首是出力于剖析和论述德沃夏克作为精力史的美术史的艺术史思惟的缘起和意义。其次是分离以他的两本重要作品《作为不雅念史的艺术史》和《意年夜利文艺中兴时代的美术》为依托，联合德沃夏克对那些具有艺术史标杆意义艺术家的创作的描写和剖析的案例，详细而微地辨析他的研究办法的特色，说明他的艺术史学思惟与同时代德语地域的其他艺术史家的接洽和差别，并对他的艺术史学思惟中的反古代性的文明意义作出必定的解释。 Abstract: Art is a key to the understanding of human society. We can not expect art works can show coherent period that have complex and collecting the historical panorama of Vientiane, however, through some with representative artists and their works, sometimes can enjoy the concession of the times and the society some indecent thoughts and spirit square law characteristics, and anti used to say, civilization from the perspective of the history of the start, to understand and familiar faces a period of social and cultural spirit, we deeply understand and familiar with the artists of this period and their artistic creations. This also became the Vienna art historian Max Dvorak (Max? Dvorak, 1874 - 1921) is one of the main characteristics of art history in the process of exploration and research. At the beginning of twentieth Century, Dvorak witnessed the natural experience doctrine in the art of crisis, Vienna were sent, symbolism and Germany expressionism muster, bring great shock to him, led him to start from the perspective of new ways of thinking and positioning and their research in the history of art, a unique art history thoughts as energy the history of art history, prompted him to each period of art as a response to the history of energy, produce very big effect on the later ancient oriental art history development, in recent years, the international has revealed some thoughts about Dvorak art history research papers, many foreign scholars study try to express a thought with 19, Dvorak attempts to reconstruct the turn of the twentieth Century German region of ancient art creation and academic thoughts in the context of relationships, International School Is mainly in the rectification of the Dvorak art history way on level introduction and related literatures, the chapeau of writing this article is output to analyze and discuss the Dvorak as the origin and significance of the energy of the history of art history art history thoughts. Followed by separation with his two important works "as indecent read history of art history" and "the Italian Renaissance era of art" as the basis, combined with Dvorak for those with benchmarking artists in art history writing description and analysis of the case, detailed and slightly his research method analysis of characteristics, indicating that his thoughts of art history and Contemporary German region of other art historians approached and difference, and his thought of art history in the anti significance of ancient civilization must be the explanation. 目录: 内容摘要 4-5 Abstract 5-6 第一章 德沃夏克探讨综述 7-15 第二章 德沃夏克艺术史观的形成 15-25 2.1 世纪末的维也纳--文化与政治 15-20 2.2 传承与转变 20-25 第三章 作为精神史的美术史 25-46 3.1 《作为精神史的美术史》 25-46 3.1.1 地下墓室绘画--精神的突破 27-29 3.1.2 哥特雕塑与绘画中的理想主义与自然主义 29-31 3.1.3 施恩高尔与尼德兰美术 31-39 3.1.4 丢勒与《启示录》 39-42 3.1.5 尼德兰浪漫主义的历史前提 42-43 3.1.6 《老勃鲁盖尔》 43-45 3.1.7 《作为精神史的艺术史》的时代性 45-46 第四章 意大利文艺复兴时期的美术史 46-69 4.1 《新的福音书--乔托的美术》 49-61 4.2 文艺复兴的大师--马萨乔 61-69 第五章 德沃夏克的时代隐喻 69-73 附录一 参考书目 73-74 附录二 年表及作品 74-75 致谢 75 |
