灵魂幻象的外部投射——阿尔贝蒂《论绘画》论述的绘画要素与视知觉间的关系  

Painting as an External Projection of the Phantasm in the Soul:Alberti’s Discussion on the Relationship Between the Pictorial Elements and Visual Perception

作　　者：何茜[1] He Xi

机构地区：[1]同济大学人文学院

出　　处：《美术》2020年第4期127-130,126,共5页Art Magazine

摘　　要：在《论绘画》第一卷,阿尔贝蒂明确规定了那些构成前绘画阶段的诸形式要素及其变形规则,本文尝试从阿尔贝蒂在这一部分对"面"的定义和分析为切入点,揭示出构成其绘画理论基础的绘画诸要素及其规则与中世纪灵魂感知理论之间的隐秘联系,在此基础上阐明何为阿尔贝蒂所理解的绘画。它既不是画家对眼前自然形象的被动接受,也不是依照数学比例和几何原理的图像复制,而是当感觉对象不在场时,灵魂中的幻象在外部的投射。In the first book of On Painting,Alberti clearly defined the formal elements of painting and their deformation rules that constitute the pre-painting stage.By taking Alberti’s definition and analysis of "surface" as a start point,this article reveals the reference and succession to the medieval theory of the phantasm,which is of Aristotelian origin and fused with Islamic medicine,in Alberti’s discussion on the art of painting.On this basis,it explains what Alberti’s understanding of painting is.It is neither the passive acceptance of nature in front of the painter,nor the reproduction of the image according to a set of mathematical proportions and geometric principles,but the external projection of the internal phantasm in the soul when the object of sensation is not present.

关 键 词：阿尔贝蒂 文艺复兴绘画理论 美学话语 

分 类 号：J205[艺术—美术]