西方艺术鉴定的历史发展和演变

发布时间：2018-10-17 14:43

【摘要】：在西方艺术史学科形成、发展过程中,艺术鉴定(connoisseurship)既是这一学科的基础和举足轻重的分支学科,又是一种研究方法。从16到18世纪,艺术鉴定一般意味着慧眼独具的鉴别力和渊博的知识。这一时期的艺术鉴定从本质上来说,用appreciation(审美欣赏或作品赏析)而非connoisseurship(艺术鉴定)也许更为恰当,因为这一时期人们希望从艺术作品那里发现的是超越时空的、具有永恒价值的审美因素,而非某件艺术作品的归属或真伪。在19世纪,艺术鉴定与文献学、古物学、考古学等一起共同构成了艺术史学科的重要基础。这一时期"鉴定"一词拥有了它新的基本含义,即指鉴定家具有确定作品归属、区别真伪艺术作品(或原作与仿品)的能力,形成了种种建立在经验之基础上的、极其严格的鉴定方法。在进入20世纪之后,随着可供鉴定家使用的确定作品真伪和归属的形形色色科学技术的不断问世,艺术鉴定开始远离艺术史领域,并最终在博物馆、特别是艺术市场和拍卖行中找到了自己的用武之地。艺术鉴定家的艺术史家的身份日趋淡化,以致最终连帕诺夫斯基所说的"起码是‘简略型的艺术史家’"也难以胜任了。
[Abstract]:In the course of the formation and development of the western art history subject, the art appraisal (connoisseurship) is not only the foundation and the important branch subject of this discipline, but also a kind of research method. From the 16 th to the 18 th century, artistic appraisal generally meant discernment and profound knowledge. In essence, it may be more appropriate to use appreciation (aesthetic appreciation or appreciation of works) than connoisseurship (art appraisal) in this period, because what people hope to find from the works of art in this period is beyond time and space. An aesthetic factor of eternal value, not the attribution or authenticity of a work of art. In the 19th century, art identification, literature, antiquities and archaeology together constituted the important foundation of art history. In this period, the term "appraisal" has its new basic meaning, that is, the ability of identifying furniture to determine the ownership of a work, to distinguish between genuine and fake artistic works (or original works and imitation works), and to form various kinds of works based on experience. An extremely strict method of identification. After entering the 20th century, with the emergence of various kinds of science and technology that can be used by appraisers to determine the authenticity and attribution of works, art appraisal began to be far away from the field of art history and eventually in museums. In particular, the art market and auction houses found their own opportunities to display their talents. The identity of the art historian as an art appraiser was so diminished that even what Panofsky called "at least a cursory art historian" was incompetent.
【作者单位】：南京艺术学院艺术学研究所;
【分类号】：J110.9

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