艺术家的主权:关于法律格言和文艺复兴艺术理论的批注  

The Sovereignty of the Artist:A Note on Legal Maxims and Renaissance Theories of Art

作　　者：恩斯特·H.康托洛维茨 刘寅(译)[2] Ernst H.Kantorowicz;Liu Yin(不详;the History Department,Zhejiang University.)

机构地区：[1]不详 [2]浙江大学历史学院

出　　处：《中世纪与文艺复兴研究》2024年第1期129-151,共23页Medieval and Renaissance Studies

摘　　要：文艺复兴的诗歌和艺术理论与中世纪法学家的专业学说之间存在很强的可类比性。“艺术模仿自然”是亚里士多德的格言。然而,中世纪还有使此学说获得传播的文学渠道,即罗马法。根据中世纪罗马法和教会法注释传统,立法者因为“依据职权”模仿自然被视为艺术家。属灵的或世俗的立法者这一主权职位“依据职权”而获得能力和特权。基于对等比较,诗人--最终是艺术家全体--“依据天赋”而享有个体性的且纯粹属人的能力和特权。身为人--强调意义上的“人”--变成了一项职权。Some strong analogies existed between the poetico-artistic theories of the Renaissance on the one hand and the professional doctrines of medieval jurists on the other.“Art imitates Nature”was an Aristotelian maxim.However,one of the literary channels accessible to the Middle Ages through which this doctrine was transmitted was Roman law.According to the medieval tradition of glossators of Roman law and canon law,the legislator was seen as an artist because he imitated nature ex officio.The incumbent of the sovereign office of the legislator,spiritual or secular,was conceded the abilities and prerogatives ex officio.According to the method of equiparation,the poet,and eventually the artist at large,enjoyed the individual and purely human abilities and prerogatives ex ingenio.To be Man,in the emphatic sense of the word,had come to be an officium.

关 键 词：文艺复兴 艺术理论 艺术家 中世纪 罗马法 教会法 彼特拉克 

分 类 号：D909.1[政治法律—法学理论] K503[政治法律—法学] J110.93[历史地理—历史学]