从“符号形式”到“现代透视”概念:论潘诺夫斯基后期透视观的演变与发展  

From“Symbolic Form”to the Concept of“Modern Perspective”:On the Evolution and Development of Panofsky’s Later Views on Perspective

作　　者：汪好 Wang Hao

机构地区：[1]上海大学上海美术学院

出　　处：《美术观察》2025年第1期82-91,共10页Art Observation

摘　　要：潘诺夫斯基的透视观集中体现于《作为符号形式的透视》(1927)和《早期尼德兰绘画》(1953)两部著作中。前者借鉴卡西尔的“符号形式哲学”,探讨透视作为西方文明特有的文化符号,强调文艺复兴的透视结构是主客观相统一的产物,但同时指出这只是再现三维空间的一种可能方法。该研究影响深远,但也引发了关于其相对主义倾向的争论。在1953年的《早期尼德兰绘画》中,潘诺夫斯基在不同的学术语境下,进一步深化了对透视的探讨,强调线性透视在文艺复兴时期的普遍有效性,并将之视为科学“客观性”的典范。这两部著作虽然侧重点不同,但并不意味着观点的否定或对立,而是从不同维度揭示了线性透视的文化与科学意义,体现了潘氏对理性主义与人文主义价值的持续捍卫,并阐明了文艺复兴的线性透视在西方艺术与科学中的核心作用。Erwin Panofsky’s theory of perspective is primarily articulated in his early work,Perspective as Symbolic Form(1927),and his later work,Early Netherlandish Painting:Its Origin and Character(1953).In the former,drawing on Ernst Cassirer’s“philosophy of symbolic forms”,he examines perspective as a distinctive symbolic value of Western civilization,portraying Renaissance perspective as a synthesis of subjectivity and objectivity—one possible way to represent three-dimensional space on a two-dimensional plane.This influential study provoked debates,with some scholars questioning its perceived relativistic implications.In Early Netherlandish Painting(1953),written within a different scholarly context,Panofsky further elaborated on the concept,emphasizing the universal validity of linear perspective and portraying it as a paradigm of Renaissance scientific“objectivity”.This was not a contradiction of his earlier views but a complementary extension,reflecting a more nuanced position.It marked an intellectual progression from the“symbolic form”concept to a broader recognition of“modern perspective,”underscoring his consistent advocacy for rationalism and humanistic values while affirming the central role of linear perspective in Western art and science.

关 键 词：潘诺夫斯基 透视理论 图像学 《早期尼德兰绘画》 

分 类 号：J205[艺术—美术]