THE SENSE OF FORM IN ART by H. WÖLFFLIN

THE SENSE OF FORM IN ART
A Comparative Psychological Study

BY
H. WÖLFFLIN

TRANSLATED FROM THE GERMAN BY
ALICE MUEHSAM, PH. D.
AND
NORMA A. SHATAN

CHELSEA PUBLISHING COMPANY
NEW YORK

THE PRESENT WORK IS A TRANSLATION INTO ENGLISH OF THE BOOK ITALIEN UND DAS DEUTSCHE FORMGEFUEHL LIBRARY OF CONGRESS CATALOGUE CARD NUMBER 57-12877 COPYRIGHT 1931 BY F. BRUCKMAN A.G., MÜNCHEN COPYRIGHT VESTED IN THE ATTORNEY GENERAL OF THE UNITED STATES, PURSUANT TO LAW MANUFACTURED AND SOLD UNDER LICENSE NO. A-1675 OF THE ATTORNEY GENERAL OF THE UNITED STATES COPYRIGHT © 1958 BY CHELSEA PUBLISHING COMPANY COPYRIGHT 1958 BY CHELSEA PUBLISHING COMPANY PRINTED IN THE UNITED STATES OF AMERICA -2-

Questia Media America, Inc. www.questia.com

Publication Information: Book Title: The Sense of Form in Art: A Comparative Psychological Study. Contributors: H. Wolfflin - author, Alice Muehsam - transltr, Norma A. Shatan - transltr. Publisher: Chelsea Publishing. Place of Publication: New York. Publication Year: 1958. Page Number: 2.

沒索引

意大利和德國的形式感

• 作者：（瑞士）沃爾夫林
• 譯者：張堅
• 出版社：北京大學出版社
• 出版日期：2009年07月01日

譯者序︰“精神科學”與“文化科學”語境中的“形式感” 又臭又長的鬼序
前言
導言
第一章 形式與輪廓
第二章 規範與秩序
第三章 整體與部分
第四章 輕盈的力感
第五章 宏偉與簡潔
第六章 類型與一般性
第七章 浮雕概念
第八章 藝術中的清晰性與主題
第九章 結論

序

章學誠在《文史通義》中說︰“事有實據，而理無定形，故夫子之述六經，皆取先王典章，未嘗離事而著理。”而孔子之作《春秋》，“莊生以謂議而不斷，蓋其義寓于其事其文，不自為賞罰也”。以現代史學觀之，這是一種客觀主義態度，與蘭克史學主張不謀而合。章學誠指出，漢魏以後學者，單從史籍編撰體例而把司馬遷和班固的史著歸諸于《尚書》，而各家編年，則淵源于《春秋》，這顯然是視《春秋》為“萃聚其事，以年分編”剪刀加糨糊的歷史，而昧于其微言大義，在他看來，司馬遷“究天人之際，通古今之變”的史學要旨，應是《春秋》家學之承續。

近代中國西學東漸風潮之下，有學者注意到中國史學的這種“會通之旨”和“理在事中而不離事言理”的傳統，何炳松撰《章學誠史學管窺》，論述章學誠史學思想，以為與近代西方史學傳統，尤其是蘭克實證主義有頗多暗合之處。

何炳松師承美國新史學代表魯濱遜，而新史學實際上是蘭克史學一個分支。當然，20世紀上半葉，國內學界對蘭克史學的認識是多有偏頗之處的，當時學者從日本間接了解蘭克的史學思想和研究方法，把他作為科學實證史學的代表，重視其“如實直書”的實證性，引進他的嚴謹的考訂史料方法，而對蘭克歷史敘事隱含的“上帝之手”較少觸及。 事實上，“上帝之手”說法雖顯神秘，其指向不過類似于章學誠“義寓于其事其文”的論斷，應該說，這恰恰是蘭克史著宏旨之所在，即“以其統一性講述各民族的歷史”。不過，他也認為，對這種統一性的理解只能通過特殊性的理解而獲得。至于如何賦予這種神秘主義化的歷史精神以認識論的基點，使之化約為普遍可傳達的知識，則是19、20世紀之交德國興起的歷史哲學關注的核心問題。

作為對德國歷史主義思想傳統的反駁，歷史哲學思潮致力于為歷史研究尋找穩固的認識論基點。他們主要受到康德思想的影響，一方面是以狄爾泰為代表的“精神科學”（Geisteswiss enschaften），另一方面是新康德主義的馬堡學派和弗萊堡學派，美國學者瓊‧哈特（Joan Hart）在《沃爾夫林再闡釋︰新康德主義和闡釋學》中，以沃爾夫林與狄爾泰“精神科學”的聯系為闡述主線，而事實上，狄爾泰雖然深受康德影響，卻很難說他是一位新康德主義者，他的“精神科學”，與新康德主義弗萊堡學派“文化科學”（Kulturwissenschaft）存在區別，後者對沃林格的影響要更大一些，而沃爾夫林從早期移情形式觀念轉向純視覺模式的藝術史架構，著眼于視覺形式創作活動的客觀化心理原則的揭示和認知，表現出“精神科學”的特點，而這又通過形式藝術史的學院體制建設和幻燈投影教學得到進一步強化；同時，在關乎南方和德國形式感問題上，沃爾夫林和沃林格文化與藝術立場的微妙差別，需要納入當時的“精神科學”和“文化科學”的語境中加以討論，並與現代美學中的“間離”體驗相勾連。澄清這些問題，應有助于我們更好地讀解沃爾夫林《意大利和德國的形式感》。

pp.54-55 G 好廢墟

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Paumgartner Altar c. 1503 Oil on lime panel, 155 x 126 cm (central), 151 x 61 cm (each wing) Alte Pinakothek, Munich Send this picture as postcard Friendly format for printing and bookmarking Order oil painting

The altar has the traditional shape of a winged altarpiece. The outside, the weekday side, displays a workshop production of an Annunciation and the former standing figures of saints Catherine and Barbara. When opened, the magnificent colours of the Nativity are visible, framed by saints George and Eustace. This triptych was commissioned by the brothers Stephan and Lukas Paumgartner for St Catherine's Church in Nuremberg. It may well have been ordered after Stephan's safe return from a pilgrimage to Jerusalem in 1498. The main panel depicts the Nativity, set in an architectural ruin. The left wing shows St George with a fearsome dragon and the right wing St Eustace, with both saints dressed as knights and holding identifying banners. A seventeenth-century manuscript records that the side panels were painted in 1498 and that the two saints were given the features of the Paumgartner brothers (with Stephan on the left and Lukas on the right). This is the earliest occasion on which an artist is known to have used the facial features of a donor in depicting a saint. The exteriors of the wing panels were of the Annunciation, although only the figure of the Virgin on the left panel has survived. On stylistic grounds, the Nativity was painted a few years later than the wings, probably in 1502 or soon afterwards. The tiny body of Christ is almost lost in the composition, surrounded by a swarm of little angels. Peering out from behind the Romanesque columns on the right are the ox and the ass, while opposite them on the left side are the faces of two shepherds. The composition, formed by the ruins of a palatial building, draws the eye towards the archway. Two other shepherds step up into the courtyard, the red and blue of their clothes echoing the colours of Joseph and the Virgin Mary. In the sky, an angel descends to reveal news of Christ's birth to another pair of shepherds tending their flock on the distant hillside. Although traditionally a night-time scene, it is brightly illuminated by a ball of light in the sky. The small figures at the bottom corners of the central panel are the Paumgartner family with their coats of arms. They were painted over in the seventeenth century, when donor portraits went out of favour, and were only uncovered during restoration in 1903. On the left behind Joseph are the male members of the family, Martin Paumgartner, followed by his two sons Lukas and Stephan and an elderly bearded figure who may be Hans Sch霵bach, second husband of Barbara Paumgartner. On the far right is Barbara Paumgartner (n嶪 Volckamer), with her daughters Maria and Barbara. In 1988 this painting was seriously damaged by a vandal, along with the Lamentation for Christ and the central panel of The Seven Sorrows of the Virgin depicting the grieving Mary. Restoration of the Paumgartner Altarpiece and the Lamentation for Christ was completed in 1998 and work then began on the panel of the Virgin.