贡布里希对图像学的修正

Gombrich’s Correction of Iconology

贡布里希图像学image interpretation意大利文艺复兴过度阐释哲学基础应用范围形而上学实用主义论证方法类型定位方案重构波提切利维纳斯批评者创造性作品天马名声理论潘诺夫斯基PanofskyGombrichiconology

贡布里希既是图像理论的继承者，又是最有力的批评者，这首先反映在对意大利文艺复兴相关问题的分歧上。此外，贡布里希肯定潘诺夫斯基图像学的价值，但反对天马行空的图像阐释，认为败坏了图像学的名声。为此，他特地缩小了图像学的应用范围，创造性地将潘诺夫斯基的意图追寻观念发展成方案重构与类型定位两原则，在哲学基础上摆脱了潘诺夫斯基形而上学的牢笼，以实用主义取而代之，有效地规避了图像学研究中的过度阐释问题。他对波提切利作品《春》和《维纳斯的诞生》的精彩阐释，其论证方法和过程本身就是巨大的成就。

Gombrich is the successor of Iconology theory ,and the strongest critic .They firstly have very different positions about Renaissance .In addition ,Gombrich approved of the value of the Panofsky I‐conology ,but opposed the unconstrained image interpretation for its corruption of the reputation of i‐conology .Therefore ,he specially narrowed the scope of the application of iconology ,and developed creatively Panofsky’s intention into solution reconstruction with two types of positioning principle , which on the basis of philosophy shrugged off Panofsky’s metaphysics cage ,replaced it with pragma‐tism ,and effectively avoided the problem of excessive interpretation of iconology . His achievement exists in the method and the process of his wonderful interpretation of Botticelli ’s“Spring” and“The Birth of Venus” .

武汉理工大学学报（社会科学版）

江西省艺术科学规划项目(YG2014300)；江西省社会科学院理论创新项目(15cx169)；2016年江西省社会科学十三五规划项目(YS2016255)

2017-01-01

2017-03-20

2017-03-20

期刊论文

https://wf.pub/perios/article:190_doi%3A10.3963%2Fj.issn.1671-6477.2017.01.0005

10.3963/j.issn.1671-6477.2017.01.0005doi

whlgdxxb-sk201701005

zh

万方数据库

ISTIC

J01

J110.9