第一章 生命的迹象
[1].Maxime Aubert et al., ‘Oldest cave art found in Sulawesi’, Science Advances, vol. 7 (3), 2021. See also M.Aubert et al., ‘Earliest hunting scene in prehistoric art’, Nature, vol. 576, 11 December 2019, pp.442——445.
[2].Nicholas J. Conard, ‘Palaeolithic ivory sculptures from southwestern Germany and the origins of igurative art’, Nature, vol. 426, 18/25 December 2003, pp.830——832.
[3].Maxime Aubert, Adam Brumm and Paul S. C.Ta?on, ‘The timing and nature of human colonization of southeast Asia in the late Pleistocene: a rock art perspective’, Current Anthropology, vol. 58, December 2017, pp.553——556, here p.562.
[4].Jean Clottes, ‘The identiication of human and animal igures in European Palaeolithic art’, in Howard Morphy, ed., Animals into Art (Oxford, 1989), pp.21——56.
[5].Jill Cook, The Swimming Reindeer(London, 2010).
[6].Paul Pettitt et al., ‘New view on old hands: the context of stencils in El Castillo and La Garma caves (Cantabria, Spain)’, Antiquity, vol. 88, no. 339, March 2014, pp.47——63.
[7].Pamela B. Vandiver, Olga Soffer, Bohuslav Klíma and Ji?i Svoboda, ‘The origins of ceramic technology at Dolni Věstonice, Czechoslovakia’, Science, vol. 246, 24 November 1989, pp.1002——1008.
[8].Bohuslav Klíma, ‘Recent discoveries of Upper Palaeolithic art in Moravia’, Antiquity, vol. 32, no. 125, March 1958, pp.8——14, here pp.13——14.
[9].Colin Renfrew and Iain Morley, eds, Image and Imagination: A Global Prehistory of Figurative Representation (Cambridge, 2007), p. xv.
[10].旧石器时代距今约330万——12 000年，这一时期的大多数人类都依赖石器。新石器时代距今约12 000——5000年。
[11].Whang Yong-Hoon, ‘The general aspect of Megalithic culture of Korea’, in Byungmo Kim, ed., Megalithic Cultures in Asia (Seoul, 1982), pp.41——64; Sarah Milledge Nelson, The Archaeology of Korea (Cambridge, 1993), p.147.
[12].Klaus Schmidt, ‘G?bekli Tepe: a neolithic site in southwestern Anatolia’, in Gregory McMahon and Sharon R. Steadman, eds, The Oxford Handbook of Ancient Anatolia (Oxford, 2011), pp.917——933.
[13].Mike Parker Pearson et al., ‘The age of Stonehenge’, Antiquity, vol. 81, no. 313, September 2007, pp.617——639.
[14].Yaroslav Kusmin, ‘Chronology of the earliest pottery in East Asia: progress and pitfalls’, Antiquity, vol. 80, no. 308, June 2006, pp.362——371.
第二章 大开眼界
[15].Paul Collins, Mountains and Lowlands: Ancient Iran and Mesopotamia (Oxford, 2016), p.32.
[16].Henri Frankfort, Cylinder Seals: A Documentary Essay on the Art and Religion of the Ancient Near East (London, 1939).
[17].R. W. Hamilton, ‘A Sumerian cylinder seal with a handle in the Ashmolean Museum’, Iraq, vol. 29, no. 1, Spring 1967, pp.34——41.
[18].Edith Porada, ‘A leonine igure of the protoliterate period of Mesopotamia’,Journal of the American Oriental Society, vol. 70, no. 4, October——December 1950, pp.223——226.
[19].Leonard Woolley, Ur: The First Phases (London, 1946).
[20].Helene J. Kantor, ‘Landscape in Akkadian art’, Journal of Near Eastern Studies, vol. 25, no. 3, July 1966, pp.145——152.
[21].Irene J. Winter, ‘Tree(s) on the mountain: landscape and territory on the Victory stele of Naram-S?n of Agade’, in L. Milano, S. de Martino, F. M. Fales and G. B. Lanfranchi, eds, Landscapes: Territories, Frontiers and Horizons in the Ancient Near East (Padua, 1999), pp.63——72, here p.70.
[22].Sibylle Edzard and Dietz Otto Edzard, Gudea and His Dynasty: ‘The Royal Inscriptions of Mesopotamia’, Early Periods, vol. 3/1 (Toronto, 1997), pp.30——38.
[23].The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian, trans.Andrew George (London, 1999), p.87.
[24].Paul Collins, Assyrian Palace Sculptures (London, 2008).
[25].Nahum 3, 7.
[26].Psalm 137.
[27].Exodus 25.
[28].I Kings 6.
[29].Genesis 11.
[30].Josephus, Jewish Antiquities, X.I.
[31].John Curtis, The Cyrus Cylinder and Ancient Persia (London, 2013); translation of the text by I. L. Finkel, pp.42——43.
[32].A. Shapur Shahbazi, The Authoritative Guide to Persepolis (Tehran, 2004), pp.69——71.
第三章 优雅时代
[33].Toby Wilkinson, The Rise and Fall of Ancient Egypt (London, 2010), p.23.
[34].Erik Iversen, Canon and Proportions in Egyptian Art (London, 1955); Gay Robins, Proportion and Style in Ancient Egyptian Art (Austin, TX, 1994).
[35].Yvonne Harpur, ‘The identity and positions of relief fragments in museums and private collections: the reliefs of R’-htp and Nfrt from Meydum’, The Journal of Egyptian Archaeology, vol. 72, 1986, pp.23——40.
[36].Rudolf Anthes, ‘Afinity and difference between Egyptian and Greek sculpture and thought in the seventh and sixth centuries B.C.’, Proceedings of the American Philosophical Society, vol. 107, no. 1, 1963, pp.60——81, here p.63.
[37].Donald Spanel, Through Ancient Eyes: Egyptian Portraiture, exh. cat., Birmingham Museum of Art (Birmingham, AL, 1988).
[38].Cyril Aldred, ‘Some royal portraits of the Middle Kingdom in ancient Egypt’, Metropolitan Museum Journal, vol. 3, 1970,pp.27——50.
[39].Ross E.Taggart, ‘A quartzite head of Sesostris III’, The Nelson Gallery and Atkins Museum Bulletin, vol. IV, no. 2, October 1962, pp.8——15.
[40].Arielle P. Kozloff and Betsy M. Bryan, Egypt’s Dazzling Sun: Amenhotep III and His World, exh. cat., Cleveland Museum of Art (Cleveland, OH, 1992).
[41].Wilkinson, The Rise and Fall of Ancient Egypt, p.285
[42].Herodotus, The Persian Wars, II.
[43].Bernard Fagg, ‘A preliminary note on a new series of pottery igures from northern Nigeria’, Africa, vol. 15, no. 1, 1945, pp.21——22.
[44].Peter Garlake, Early Art and Architecture in Africa (Oxford, 2002), p.111.
[45].Frederick John Lamp, ‘Ancient terracotta igures from northern Nigeria’, Yale University Art Gallery Bulletin, 2011, pp.48——57, here p.52.
第四章 玉器与青铜
[46].Ute Franke-Vogt, ‘The glyptic art of the Harappa culture’, in Michael Jansen, Máire Mulloy and Günter Urban, eds, Forgotten Cities of the Indus: Early Civilization in Pakistan from the 8th to the 2nd Millennium BC (Mainz, 1991), pp.179——187, here p.182.
[47].Colin Renfrew and Bin Liu, ‘The emergence of complex society in China: the case of Liangzhu’, Antiquity, vol. 92, no. 364, August 2018, pp.975——990.
[48].Timothy Potts, ‘The ancient Near East and Egypt’, in David Ekserdjian, ed., Bronze, exh. cat., Royal Academy, London (London, 2012), pp.32——41.
[49].Chêng Tê-k’un, ‘Metallurgy in Shang China’, T’oung Pao, vol. 60, no. 4/5, 1974, pp.209——229.
[50].Jessica Rawson, Chinese Bronzes: Art and Ritual (London, 1987), p.20; Jianun Mei and Thilo Rehren, Metallurgy and Civilisation: Eurasia and Beyond (London, 2009).
[51].Chêng Tê-k’un, ‘Metallurgy in Shang China’, p.224.
[52].Rawson, Chinese Bronzes, p.31.
[53].Jenny F. So, ‘The inlaid bronzes of the Warring States period’, in Wen Fong, ed., The Great Bronze Age of China: An Exhibition from the People’s Republic of China, exh. cat., Metropolitan Museum of Art, New York (New York, 1980), pp.305——311, here pp.309——310.
[54].Robert Bagley, ed., Ancient Sichuan: Treasures from a Lost Civilisation, exh. cat., Seattle Art Museum (Seattle, WA, 2001).
[55].Sima Qian, The First Emperor: Selections from the Historical Records, trans. with an intro. by Raymond Dawson and a preface by K. E. Brashier (Oxford, 2007).
[56].Ibid., p.83.
[57].Maxwell K. Hearn, ‘The terracotta army of the irst emperor of Qin (221–206 B.C.)’, in Wen Fong, ed., The Great Bronze Age of China, pp.353——368; Jane Portal, ed., The First Emperor: China’s Terracotta Army, exh. cat., British Museum London (London, 2007).
[58].Lukas Nickel, ‘The irst emperor and sculpture in China’, Bulletin of SOAS, vol. 76, no. 3, 2013, pp.413——447.
[59].Elizabeth P. Benson and Beatriz de la Fuente, Olmec Art of Ancient Mexico, exh. cat., National Gallery of Art, Washington (Washington, BC, 1996).
[60].James C. S. Lin, ‘Protection in the afterlife’, in James C. S. Lin, ed., The Search for Immortality: Tomb Treasures of Han China (New Haven, CT, 2012), pp.77——83; Wu Hung, The Art of the Yellow Springs: Understanding Chinese Tombs (Honolulu, HA, 2010).
[61].Mary Ellen Miller, The Art of Mesoamerica: From Olmec to Aztec (London, 2001), p.23; Susan Milbrath, ‘A study of Olmec sculptural chronology’, in Studies in Pre-Columbian Art and Archaeology 23 (Washington, BC, 1979), pp.1——75.
[62].Stuart Fiedel, Prehistory of the Americas (Cambridge, 1987), pp.179——184.
[63].S. Kaner, ed., The Power of Dogu:Ceramic Figures from Ancient Japan, exh. cat., British Museum, London (London, 2009).
第五章 人类的尺度
[64].S. Hood, The Minoans (London, 1971).
[65].A. J. B. Wace, Mycenae: An Archaeological History and Guide (Princeton, NJ, 1949).
[66].The Pylos Warrior Seal was discovered in 2015. Sharon R. Stocker and Jack L. Davis, ‘The combat agate from the grave of the Grifin Warrior at Pylos’, Hesperia: The Journal of the American School of Classical Studies at Athens, vol. 86, no. 4, October—— December 2017, pp.583——605.
[67].John Boardman, The History of Greek Vases (London, 2001).
[68].P. E.Arias, A History of Greek Vase Painting, trans. B. B. Shefton (London, 1962), pp.354——357.
[69].Timothy J. McNiven, ‘Odysseus on the Niobid Krater’, The Journal for Hellenic Studies, vol. 109, 1989, pp.191——198.
[70].Pausanias, Description of Greece, X, ‘Phocis, Ozolian Locri’, XXV——XXXI.
[71].Pliny the Elder, Natural History, vol. IX, books XXXIII——XXXV.
[72].Lucretius refers to ‘daedala rerum’ —— a ‘cunning fashioner of things’. Lucretius, De rerum natura, Book 5, 234.
[73].Rudolf Anthes, ‘Afinity and difference between Egyptian and Greek sculpture and thought in the seventh and sixth centuries BC’, PAPS, vol. 107, no. 11, 1963, pp.60——81.
[74].Nivel Spivey, Understanding Greek Sculpture: Ancient Meanings, Modern Readings (London, 1996), p.71.
[75].A. Furtw?ngler, Masterpieces of Greek Sculpture: A Series of Essays on the History of Art, trans. E. Sellers from German edition of 1893 (London, 1895).
[76].Thucydides, History of the Peloponnesian War, II, XLIII.
[77].Euripides, The Bacchae, trans. William Arrowsmith [1959], in David Grene, Richmond Lattimore, Mark Grifith and Glenn W. Most, eds, Greek Tragedies (Chicago, IL, 2013), pp.202——266, here p.225.
[78].Lucian, Amores, 11——16.
[79].J.J. Pollitt, Art in the Hellenistic Age (Cambridge, 1986).
[80].Diogenes Laertius, 6.62.Cited in Pollitt, Art in the Hellenistic Age, p.11.
[81].Polybius, The Histories, 1.3.
[82].Pliny, Natural History, IX. XXXVI.
[83].Plutarch, Lives.‘Alexander’, IV.
[84].Virgil, The Aeneid, II, pp.213——224.
[85].Pliny, Natural History, IX. XXXVI.
[86].Herodotus, The Persian Wars, IV.46.
[87].St John Simpson and Svetlana Pankova, eds., Scythians: Warriors of Ancient Siberia, exh. cat., British Museum, London (London, 2017), p.209.
第六章 帝国征途
[88].Virgil, Aeneid, 6, pp.847——848.
[89].Livy, History of Rome, 39, 5.
[90].Homer, Iliad, VI.The tail with its serpent head was added to the bronze Chimera in the eighteenth century.
[91].Pliny, Natural History, XXV. XLV.
[92].Gisela M.A. Richter, ‘The origin of verism in Roman portraits’, The Journal of Roman Studies, vol. 45, 1955, pp.39——46.
[93].Pliny, Natural History, IX. XXXIII——XXXV.
[94].Karl Schefold, ‘Origins of Roman landscape painting’, Art Bulletin, vol. 42, no. 2, June 1960, pp.87——96.
[95].W. J.T. Peters, Landscape in RomanoCampanian Mural Painting (Assen, 1963), p.28.
[96].Pollitt, Art in the Hellenistic Age, p.185.
[97].Jocelyn Toynbee, ‘The villa item and a bride’s ordeal’, The Journal of Roman Studies, vol. 19, 1929, pp.67——87; Victoria Hearnshaw, ‘The Dionysiac cycle in the Villa of the Mysteries: a re-reading’, Mediterranean Archaeology, vol. 12, 1999, pp.43——50.
[98].Suetonius, Lives of the Caesars, II. XXVIII.
[99].D.Castriota, The Ara Pacis Augustae and the Imagery of Abundance in Later Greek and Early Roman Imperial Art (Princeton, NJ, 1995).
[100].William L. MacDonald, The Pantheon: Design, Meaning and Progeny (London, 1976), p.13.
[101].Peter Stewart, ‘The equestrian statue of Marcus Aurelius’, in Marcel van Ackeren, A Companion to Marcus Aurelius (Oxford, 2012), pp.264——277.
[102].Josephus, The Jewish War, VII. 5.
[103].Pliny, Natural History, XXXVI. LX.
[104].J. M. C.Toynbee, Art in Roman Britain (London, 1962), p.203; Stephen R. Cosh and David S. Neal, Roman Mosaics of Britain, vol. II, South-West Britain (London, 2005), pp.253——256.
[105].Susan Walker and Morris Bierbrier, Ancient Faces: Mummy Portraits from Roman Egypt (London, 1997).
第七章 痛苦与欲望
[106].John Irwin, “‘A?okan’ pillars: a reassessment of the evidence”, The Burlington Magazine, no. 848, November 1973, pp.706——720.
[107].James Legge, The Travels of Fa-Hien (Oxford, 1886), pp.50——51.
[108].Benjamin Rowland, The Art and Architecture of India: Buddhist, Hindu, Jain (Harmondsworth, 1967), p.60.
[109].Akira Shimada and Michael Willis,Amaravati: The Art of an Early Buddhist Monument in Context (London, 2016).
[110].Robert Knox, Amaravati: Buddhist Sculpture from the Great Stupa (London, 1992).
[111].John M. Rosenield, The Dynastic Art of the Kushans (Berkeley and Los Angeles, CA, 1967).
[112].Robert Bracey, ‘Envisioning the Buddha’, in Imagining the Divine, exh. cat., Ashmolean Museum, Oxford (Oxford, 2018), pp.85——99, here pp.97——98.
[113].E. H. Ramsden, ‘The halo: a further enquiry into its origin’, The Burlington Magazine, no. 456, April 1941, pp.123——127, 131.
[114].Wannaporn Rienjang and Peter Stewart, eds, The Global Connections of Gandharan Art (Oxford, 2020).
[115].Stanislaw Czuma, ‘Mathura sculpture in the Cleveland Museum collection’, The Bulletin of the Cleveland Museum of Art, no. 3, 1967, pp.83——114.
[116].William Empson, The Face of the Buddha (Oxford, 2016), p.22.
[117].Vidya Dehejia, Indian Art (London, 1997), pp.96——97.
[118].J. C. Harle, Gupta Sculpture: Indian Sculpture of the Fourth to the Sixth Centuries A.D. (New Delhi, 1996).
[119].Stella Kramrisch, The Presence of ?iva (Princeton, NJ, 1981), p.439.
[120].Neville Agnew, Marcia Reed and Tevvy Ball, Cave Temples of Dunhuang: Buddhist Art on China’s Silk Road, exh. cat., Getty Center, Los Angeles (Los Angeles, CA, 2016).
[121].Sarah Whitield, ‘Dunhuang and its network of patronage and trade’, in Agnew, Reed and Ball, Cave Temples of Dunhuang, pp.59——75, here p.62.
第八章 黄金圣徒
[122].Oleg Grabar, Christian Iconography: A Study of Its Origins (London, 1969), p.6.
[123].Joseph Gutmann, ‘The Dura Europos synagogue paintings: the state of research’, in Lee I. Levine, ed., The Synagogue in Late Antiquity (Philadelphia, PA, 1987), pp.61——72.
[124].Deuteronomy 5.
[125].Jas Elsner, ‘Jewish art’, in Jas Elsner et al., eds, Imagining the Divine: Art and the Rise of World Religions, exh. cat., Ashmolean Museum, Oxford (Oxford, 2018), pp.69——72, here p.69.
[126].Grabar, Christian Iconography, p.45.
[127].Eusebius, Life of Constantine, intro., trans. and commentary by Averil Cameron and Stuart G. Hall (Oxford, 1999), p.141.
[128].Richard Krautheimer, ‘The Constantinian basilica’, Dumbarton Oaks Papers, vol. 21, 1967, pp.115——140.
[129].也有人认为这是为君士坦丁的长女海伦娜建造的陵墓，由她的丈夫朱利安皇帝授命建造。
[130].Procopius, Buildings, I.i.
[131].See Cyril Mango and Ihor ?ev?enko, ‘Remains of the church of St. Polyeuktos at Constantinople’, Dumbarton Oaks Papers, vol. 15, 1961, pp.243——247.
[132].Martin Harrison, A Temple for Byzantium:The Discovery and Excavation of AniciaJuliana’s Palace-Church in Istanbul (Austin, TX, 1989).
[133].The Russian Primary Chronicle: Laurentian Text, trans. S. H. Cross and O. P. Sherbowitz-Wetzor (Cambridge MA, 1953), p.111.
[134].See Ernst Kitzinger, ‘The cult of images in the age before Iconoclasm’, Dumbarton Oaks Papers, 8, 1954, pp.83——105; and Andrea Nicolotti, From the Mandylion of Edessa to the Shroud of Turin: The Metamorphosis and Manipulation of a Legend (Leiden, 2014).
[135].G. R. D. King, ‘Islam, Iconoclasm, and the declaration of doctrine’, Bulletin of the School of Oriental and African Studies, University of London, vol. 48, no. 2, 1985, pp.267——277.
[136].Steven Runciman, Byzantine Style and Civilisation (Harmondsworth, 1975), pp.83——84.
[137].Steven Runciman, ‘The empress Eirene the Athenian’, in D. Baker, ed., Medieval Woman (Oxford, 1978), pp.101——118.
[138].Robin Cormack, ‘Women and icons, and women in icons’, in Liz James, ed., Women, Men and Eunuchs: Gender in Byzantium (London, 1997), pp.24——51.
[139].H. Buchthal, The Miniatures of the Paris Psalter (London, 1938). See also K. Weitzmann, ‘Der Pariser Psalter MS. Gr. 139 und die mittelbyzantinische Renaissance’, Jahrbuch für Kunstwissenschaft, 6, 1929, pp.178——194.
[140].Henry Maguire, ‘Style and ideology in Byzantine imperial art’, Gesta, vol. 28, no. 2, 1989, pp.271——231, here p.219.
[141].Helen C. Evans, ‘Christian neighbours’, in Helen C. Evans and William D. Wixom, eds, The Glory of Byzantium. Art and Culture of the Middle Byzantine Era A.D. 843——1261, exh. cat., Metropolitan Museum of Art, New York (New York, 1997), pp.273——278.
[142].Gregoras, Byzantina Historia, vol. II (Bonn, 1829——1855), p.790, cited in Cecily J. Hilsdale, Byzantine Art and Diplomacy in an Age of Decline (Cambridge, 2014), p.1.
第九章 先知的名字
[143].Oleg Grabar, The Dome of the Rock (Cambridge, MA, London, 2006).
[144].Richard Ettinghausen, Oleg Grabar and Marilyn Jenkins Madina, Islamic Art and Architecture, 650——1250 (New Haven, CT, and London, 2001), p.19.
[145].C. Kessler, ‘Abd al-Malik’s inscription in the Dome of the Rock: a reconsideration’, Journal of The Royal Asiatic Society, 1970, pp.2——14.
[146].Terry Allen, Five Essays on Islamic Art (Sebastopol, CA, 1988), p.36.
[147].Oleg Grabar, ‘Islamic art and Byzantium’, Dumbarton Oaks Papers, vol. 18, 1964, pp.67——88, here p.77.
[148].R. Hillenbrand, ‘The ornament of the world: medieval Córdoba as a cultural center’, in S. K. Jayyusi, The Legacy of Muslim Spain (Leiden, 1992); Nuha Khoury, ‘The meaning of the great mosque of Córdoba in the tenth century’, Muqarnas, 13, 1996.
[149].David A. King, ‘Astronomical alignments in medieval Islamic architecture’, in Annals of the New York Academy of Sciences, December 2006, pp.303——312.
[150].Oleg Grabar, The Great Mosque of Isfahan (New York, 1990).
[151].Jim al-Khalili, Pathinders:The GoldenAge of Arabic Science (London, 2010).
[152].J. M. Bloom, Paper before Print: The History and Impact of Paper in the Islamic World (New Haven, CT, and London, 2001).
[153].D. C. Lindberg, Theories of Vision from al-Kindi to Kepler (Chicago, IL, 1976).
[154].The Quran, sura 24, verse 35, The Koran, trans.J. M. Rodwell (London, 1994), p.415.
[155].The Quran, sura 87, verses 1——16, The Koran, trans. Rodwell, p.415.
[156].Cited by Zabhallah Safa, Ta’rikh-i adabiyyat dar Iran [History of Iranian Literature], vol. III ([1341] Tehran, 1959), p.8; trans. in Eleanor Sims, Boris I. Marshak and Ernst J. Grube, Peerless Images: Persian Painting and Its Sources (New Haven, CT, and London, 2002), p.41.
[157].Dust Muhammad, ‘Preface to the Bahram Mirza album’, in A Century of Princes: Sources on Timurid History and Art, selected and trans. W. M.Thackston (Cambridge, MA, 1989), pp.335——350.
[158].Sims, Marshak and Grube, Peerless Images, p.31.
[159].Oleg Grabar and Sheila Blair, Epic Images and Contemporary History: The Illustrations of the Great Mongol Shahnama (Chicago, IL, 1980).
[160].John Seyller, with contributions from Wheeler M.Thackston, Ebba Koch, Antoinette Owen and Rainald Franz, The Adventures of Hamza: Painting and Storytelling in Mughal India, exh. cat., Freer Gallery of Art, Washington (Washington, BC, 2002).
[161].Trans. C. M. Naim, in Pramod Chandra, The Cleveland Tuti-nama Manuscript and the Origins of Mughal Painting, 2 vols, (Cleveland, OH, 1976), pp.182——183.
[162].Edward MacLagan, The Jesuits and the Great Mogul (London, 1932), pp.242——267.
[163].Wayne E. Begley, ‘The myth of the Taj Mahal and a new theory of its symbolic meaning’, The Art Bulletin, vol. 61, no. 1, March 1979, pp.7——37.
[164].Cited in Begley, ‘The myth of the Taj Mahal’, p.33.
第十章 入侵者与发明家
[165].R. Gameson, R. Beeby, A. Duckworth and C. Nicholson, ‘Pigments of the earliest Northumbrian manuscripts’, Scriptorium, 69, 2016, pp.33——59.
[166].Leslie Webster, Anglo-Saxon Art (London, 2006), p.8.
[167].Beowulf, trans. Seamus Heaney (London, 1999), p.24.
[168].Douglas MacLean, ‘The date of the Ruthwell Cross’, in Brendan Cassidy, ed., The Ruthwell Cross (Princeton, NJ, 1992), pp.49——70.
[169].‘The Hodoeporican of St. Willibald, by Huneberc of Heidenheim’, in C. H.Talbot, The Anglo-Saxon Missionaries in Germany (London and New York, 1954), pp.154——155.
[170].‘The Dream of the Rood’, in The Earliest English Poems, trans. M. Alexander ([1966] Harmondsworth, 1977), pp.106——110.
[171].éamonn ó Carragáin, Ritual and the Rood: Liturgical Images and the Old English Poems of the ‘Dream of the Rood’Tradition (London and Toronto, 2005), p.3.
[172].Ibid.
[173].Meyer Shapiro, ‘The religious meaning of the Ruthwell Cross’, The Art Bulletin, vol. 26, no. 4, December 1944, pp.232——245, here p.233.
[174].Ibid.
[175].N. Kershaw, ed. and trans., Anglo-Saxon and Norse Poems (Cambridge, 1922), p.55.
[176].Erwin Panofsky, ‘Renaissance and renascences’, The Kenyon Review, vol. 6, no. 2, Spring 1944, pp.201——236.
[177].Einhard and Notker the Stammerer, Two Lives of Charlemagne (Harmondsworth, 1969), p.80.
[178].Peter Lasko, Ars sacra, 800——1200 (New Haven, CT, and London, 1994), p.13.
[179].See Richard Krautheimer, ‘The Carolingian revival of early 1——38, here p.35. Christian architecture’, Art Bulletin, vol. 24, no. 1, March 1942.
[180].Einhard and Notker the Stammerer, Two Lives of Charlemagne, p.79.
[181].C. R. Dodwell, Painting in Europe, 800——1200 (Harmondsworth, 1971), p.141.
[182].Henry Mayr-Harting, Ottonian Book Illumination: An Historical Study (London, 1991), vol. 2, p.63.
[183].被称为“朱尼乌斯 11”，以弗朗西斯·朱尼乌斯命名，此人于1655年在阿姆斯特丹首次将其出版。H. R. Broderick, ‘Observations the drawings to the text’, on the method of illustration in MS Junius 11 and the relationship of Scriptorium, 37, 1983, pp.161——177.
[184].See Catherine E. Karkov, Text and Picture in Anglo-Saxon England: Narrative Strategies in the Junius 11 Manuscript (Cambridge, 2001), p.90.
第十一章 毒蛇、头骨与上古立石
[185].Popol Vuh: The Mayan Book of the Dawn of Life, trans. Dennis Tedlock (New York, 1996), p.64.
[186].Kathleen Berrin and Esther Pasztory, eds, Teotihuacan: Art from the City of the Gods, exh. cat., Fine Arts Museum, San Francisco (San Francisco, CA, 1993).
[187].Esther Pasztory, ‘Teotihuacan unmasked: a view through art’, in Berrin and Pasztory, eds, Teotihuacan, p.46.
[188].Saburo Sugiyama, ‘The Feathered Serpent Pyramid at Teotihuacan: monumentality and sacriicial burials’, in Matthew H. Robb, Teotihuacan: City of Water, City of Fire, exh. cat., de Young Museum, San Francisco (San Francisco, CA, 2017), pp.56——61.
[189].Winifred Creamer, ‘Mesoamerica as a concept: an archaeological view from Central America’, Latin American Research Review, vol. 22, no. 1, 1987, pp.35——62.西班牙语中“中美洲”一词是由保罗·基尔霍夫于1943年创造的，首见于‘Mesoamérica, sus límites geográficos, composición étnica y caracteres culturales’,Acta Americana, 1, 1943, pp.92——107。
[190].Elizabeth P. Benson, Birds and Beasts of Ancient Latin America (Gainesville, FL, 1997), p.78.
[191].Christopher B. Donnan, Moche Art of Peru, exh. cat., Museum of Cultural History, Los Angeles (Los Angeles, CA, 1978).
[192].Elizabeth P. Benson, ‘The owl as a symbol in the mortuary iconography of the Moche’, in Beatrice de la Fuente and Louise Noelle, eds, Arte funerario: coloquio internacional de historia del arte (Mexico City, 1987), vol. 1, pp.75——82.
[193].Mary Ellen Miller and Megan O’Neil, Maya Art and Architecture (London, 2014).
[194].Michael Coe, Breaking the Maya Code (London, 1999).
[195].William L. Fash, Scribes, Warriors and Kings: The City of Copán and the Ancient Maya (London, 1991), p.85.
[196].Mary Ellen Miller, ‘A re-examination of the Mesoamerican Chacmool’, The Art Bulletin, vol. 67, no. 1, March 1985, pp.7——17.
[197].Esther Pasztory, Aztec Art (New York, 1983), p.160.
[198].David Summers, Real Spaces (London, 2003), pp.45——50.
[199].Herman Cortes, Letters from Mexico, trans. and ed. by Anthony Pagden, New Haven and London 1986, p.86, pp.467——469
[200].Richard F.Townsend, The Aztecs (London, 2000), p.18.
[201].Maricela Ayala Falcón, ‘Maya writing’, in Peter Schmidt, Mercedes de la Garza and Enrique Nalda, Maya Civilization (London, 1998), pp.179——191.
第十二章 声与光
[202].‘The Ruin’, in The Earliest English Poems, trans.Alexander, pp.30——31.
[203].Kenneth Conant, Romanesque Architecture, 800——1200 (London 1966); Eric Fernie, Romanesque Architecture: The First Style of the European Age (New Haven, CT, and London, 2014).
[204].Giulio Cattin, Music of the Middle Ages, trans. Steven Botterill (Cambridge, 1984), p.48.
[205].Carolyn M. Carty, ‘The role of Gunzo’s dream in the rebuilding of Cluny III’, Gesta, vol. 27, Current Studies on Cluny, 1988, pp.113——123.
[206].George Zarnecki, Romanesque Art (London, 1971), p.14.
[207].Andreas Petzold, Romanesque Art (London, 1995), p.104.
[208].Kathi Meyer, ‘The eight Gregorian modes on the Cluny capitals’, The Art Bulletin, vol. 34, no. 2, June 1952, pp.75——94.
[209].Meyer Shapiro, ‘On the aesthetic attitude in Romanesque art’, in Meyer Shapiro, Romanesque Art (New York, 1977), pp.1——27.
[210].N. E. S. A. Hamilton, ed., Wilhelmi Malmesbiriensis, monachi gesta pontiicum anglorum (London, 1870), pp.69——70; quoted in K. Collins, P. Kidd and N. K.Turner, The St Albans Psalter: Painting and Prayer in Medieval England, exh. cat., Getty Museum (Los Angeles, CA, 2013), p.73.
[211].Conrad Rudolph, The ‘Things of Greater Importance’: Bernard of Clairvaux’s ‘Apologia’ and the Medieval Attitude toward Art (Philadelphia, PA, 1990), p.106; Conrad Rudolph, ‘Bernard of Clairvaux’s Apologia as a description of Cluny, and the controversy over monastic art’, Gesta, vol. 27, Current Studies on Cluny, 1988, pp.125——132.
[212].Lindy Grant, Abbot Suger of St-Denis: Church and State in Early Twelfth-Century France (London and New York, 1998).
[213].E. Panofsky, Abbot Suger on the Abbey Church of St Denis and its Art Treasures (Princeton, NJ, 1979), p.19.
[214].Guillaume de Lorris and Jean de Meung, Le roman de la rose, ed. and trans.Armand Strubel (Paris, 1992), line 18, 038, pp.938——941.
[215].Stephen Murray, Notre-Dame, Cathedral of Amiens: The Power of Change in Gothic (Cambridge, 1996), pp.28——43.
[216].Andrew Martindale, Gothic Art from the Twelfth to Fifteenth Centuries (London, 1967), p.89.
[217].Jean Bony, Gothic Architecture of the 12th and 13th Centuries (Berkeley, CA, 1983).
[218].K. Brusch, ‘The Naumberg Master: a chapter in the development of medieval art history’, Gazette des Beaux-Arts, n. s. 6, vol. 122, October 1993, pp.109——122.
[219].Paul Williamson, Gothic Sculpture, 1140——1300 (New Haven, CT, and London, 1995), p.177.
[220].Susie Nash, ‘Claus Sluter’s “Well of Moses” for the Chartreuse de Champmol reconsidered’, part I, The Burlington Magazine no. 1233, December 2005, pp.798——809; part II, The Burlington Magazine no. 1240, July 2006, pp.456——467; part III, The Burlington Magazine, no. 1268, November 2008, pp.724——741.
[221].S. K. Scher, ‘André Beauneveu and Claus Sluter’, Gesta, vol. 7, 1968, pp.3——14, here p.5.
[222].Millard Meiss, French Painting in the Time of Jean de Berry: The Limbourgs and Their Contemporaries, 2 vols (New York, 1974).
第十三章 雾途行旅
[223].J. Stuart, The Admonitions Scroll, British Museum Objects in Focus (London, 2014).
[224].Cited in L. Binyon, ‘A Chinese painting of the fourth century’, The Burlington Magazine, no. 10, January 1904, pp.39——45, 48——49.
[225].‘Deer Park’, from the Wang River sequence, trans. G. W. Robinson in Wang Wei: Poems (Harmondsworth, 1973).
[226].Ching Hao, ‘Pi-fa chi’ (‘A note on the art of the brush’), excerpt from Susan Bush and Hsio-yen Shih, Early Chinese Texts on Painting (Hong Kong, 2012), pp.145——148.
[227].Guo Xi, ‘Advice on landscape painting’, excerpt in Bush and Shih, Early Chinese Texts on Painting, pp.165——167.
[228].Craig Clunas, Chinese Painting and Its Audiences (Princeton, NJ, 2017), p.85.
[229].Ibid.
[230].See Michael Sullivan, Symbols of Eternity: The Art of Landscape Painting in China (Oxford, 1979), p.8.
[231].Zong Bing, ‘The signiicance of landscape’, fourth-century text cited in Bush and Shih, Early Chinese Texts on Painting, p.36.
[232].Cited in James Cahill, Chinese Painting ([1960] New York, 1985), p.91.
[233].Sullivan, Symbols of Eternity, p.77.
[234].James Cahill, Hills beyond a River: Chinese Painting of the Yüan Dynasty,1279——1368 (New York and Tokyo, 1976), p.118.
[235].See Clunas, Chinese Painting and Its Audiences, pp.51——57.
[236].Ibid., p.55
[237].Margaret Medley, The Chinese Potter: A Practical History of Chinese Ceramics (Oxford, 1976), pp.106——114.
[238].Ibid., p.177
[239].Zhang Ji, ‘Night-mooring at the Maple Bridge’, from the Ku Shih Hsüan, compiled by Yüan Ting in the twelfth century.
[240].F. W. Mote, ‘A millennium of Chinese urban history: form, time, and space concepts in Soochow’, Rice Institute Pamphlet —— Rice University Studies, 59, no. 4 (1973).
[241].Translation in Richard Edwards, The Field of Stones: A Study of the Art of Shen Zhou (1427——1509) (Washington, BC, 1962), p.40.
[242].Translation in Craig Clunas, Elegant Debts: The Social Art of Wen Zhengming, 1470——1559 (London, 2004), p.31.
[243].Sullivan, Symbols of Eternity, p.124.
[244].Jerome Silbergeld, ‘Kung Hsien: a professional Chinese artist and his patronage’, The Burlington Magazine, vol. 123, no. 940, July 1981, pp.400——410.
第十四章 目酣神醉
[245].See V. Harris, ed., Shinto: The Ancient Art of Japan, exh. cat., British Museum, London (London, 2000).
[246].记载于公元8世纪日本编年史书NihonShoki。W. G.Aston, trans.‘Nihongi’, Transactions and Proceedings of the Japan Society (London, 1896), vol. ii, pp.65——67, here p.66.
[247].Alexander Coburn Soper, The Evolution of Buddhist Architecture in Japan (Princeton, NJ, 1942), p.89.
[248].它们后来在1949年的一场大火中尽数毁灭。Joan Stanley-Baker, Japanese Art (London, 1984), p.44.
[249].Nishikawa Kyōtarō and Emily J. Sano, The Great Age of Japanese Buddhist Sculpture AD 600——1300, exh. cat., Kimbell Art Museum, Fort Worth (Fort Worth, TX, 1982), p.24.
[250].Clunas, Chinese Painting and Its Audiences, p.9.
[251].The Man’yōshū: The Nippon Gakujtusu Shinkōkai Translation of One Thousand Poems, p.3.
[252].Alexander C. Soper, ‘The rise of yamato-e’, The Art Bulletin, vol. 24, no. 4, December 1942, pp.351——379.
[253].The Pillow-Book of Sei Shōnagon, trans.Arthur Waley (London, 1928).
[254].Akiyama Terukazu, ‘Insei ki ni okeru nyōbō no kaiga seisaku: tosa no tsubone to kii no tsubone’, in Kodai, chūsei no shakai to shisō (Tokyo, 1979)；玛丽贝斯·格雷比尔翻译并删选为 ‘Women painters at the Heian court’, in Marsha Weidner, ed., Flowering in the Shadows: Women in the History of Chinese and Japanese Painting (Honolulu, HA, 1990), pp.159——184。
[255].Cited by Yukio Lippit, Japanese Zen Buddhism and the Impossible Painting (Los Angeles, CA, 2017), p.3.
[256].Saigyō Hōshi, ‘Trailing on the wind’, trans. Geoffrey Bownas and Anthony Thwaite, in Bownas and Thwaite, The Penguin Book of Japanese Poetry (Harmondsworth, 1998 [1964]), p.93.
[257].Yukio Lippit, ‘Of modes and manners in Japanese ink painting: Seshhu’s “splashed ink landscape” of 1495’, The Art Bulletin, vol. 94, no. 1, March 2012, pp.50——77, here p.55.
[258].W. Akiyoshi, K. Hiroshi and P. Varley, Of Water and Ink: Muromachi-Period Paintings from Japan, 1392——1568, exh. cat., Detroit Institute of Arts (Detroit, MI, 1986), p.98.
[259].Ibid., pp.146——147.
[260].Julia Meech-Pekarik, Momoyama: Japanese Art in the Age of Grandeur, exh. cat., Metropolitan Museum of Art, New York (New York, 1975), p.2.
[261].Carolyn Wheelwright, ‘Tōhaku’s black and gold’, Ars Orientalis, vol. 16, 1986, pp.1——31.
[262].Ibid., p.4.
第十五章 新生活
[263].Petrarch, ‘Ascent of Mont Ventoux’, in Ernst Cassirer et al., eds, The Renaissance Philosophy of Man (Chicago, IL, 1948), pp.36——46, here p.41.
[264].Jules Lubbock, Storytelling in Christian Art from Giotto to Donatello (New Haven, CT, and London, 2006), p.86.
[265].E. H. Gombrich, ‘Giotto’s portrait of Dante?’, The Burlington Magazine, no. 917, August 1979, pp.471——483, here p.471.
[266].Dante Alighieri, ‘Purgatorio XI’, The Divine Comedy, trans. Allen Mandelbaum (London, 1995), p.266.
[267].Ernst Kitzinger, ‘The Byzantine contribution to western art of the twelfth and thirteenth centuries’, Dumbarton Oaks Papers, vol. 20, 1966, pp.25——47.
[268].T. E. Mommsen, Petrarch’s Testament (Ithaca, NY, 1957), pp.78——81.
[269].Hans Belting, ‘The new role of narrative in public painting of the Trecento: Historia and allegory’, Studies in the History of Art, vol. 16 (Washington, BC, 1985), pp.151——168.
[270].Giorgio Vasari, The Lives of the Painters, Sculptors and Architects (London, 1965), pp.75——81.
[271].Theodor E. Mommsen, ‘Petrarch and the decoration of the Sala Virorum Illustrium in Padua’, The Art Bulletin, vol. 34, no. 2, June 1952, pp.95——116.
[272].L.A. Muratori, Rerum Italicarum Scriptores, vol 15. part 6 (Bologna, 1932), p.90.
[273].J. B.Trapp, ‘Petrarch’s Laura: the portraiture of an imaginary beloved’, Journal of the Warburg and Courtauld Institutes, vol. 64, 2001, pp.55——192.
[274].Petrarch, ‘Per mirar Policleto a prova iso’, Sonnet 77; in Petrarch, Canzoniere, trans.J. G. Nichols (London, 2000), p.77.
[275].Timothy Hyman, Sienese Painting: The Art of a City-Republic (1278——1477) (London, 2003).
[276].Keith Christiansen, Gentile da Fabriano (London, 1982) p.45.
[277].Paul Hills, The Light of Early Italian Painting (New Haven, CT, and London, 1987), p.126.
[278].James R. Banker, ‘The program for the Sassetta altarpiece in the church of S. Francesco in Borgo S. Sepolcro’, I Tatti Studies in the Italian Renaissance, vol. 4, 1991, pp.11——58, here p.12.
[279].Hyman, Sienese Painting, p.159.
[280].Keith Christiansen, ‘Painting in Renaissance Siena’, in K. Christiansen, L. B. Kanter and C. B. Strehlke, Painting in Renaissance Siena, 1420——1500, exh. cat., Metropolitan Museum of Art, New York (New York, 1989), pp.3——32, here p.15.
[281].Hyman, Sienese Painting, p.167.
[282].See Kenneth Clark, Piero della Francesca (London, 1951), p.8.
[283].Carlo Ginzburg, The Enigma of Piero (London, 1985), p.126.
[284].Jeryldene M. Wood, ed., The Cambridge Companion to Piero della Francesca (Cambridge, 2002), p.3.
第十六章 视觉的秩序
[285].Giorgio Vasari, Lives of the Artists, vol. 1, trans. George Bull (London, 1965), pp.141——60.
[286].Richard Krautheimer, Lorenzo Ghiberti (Princeton, NJ, 1970), pp.31——43.
[287].Antonio di Tuccio Manetti, The Life of Brunelleschi, trans. C. Engass (London, 1970), pp.50——54.
[288].Hans Belting, Florence and Baghdad, Renaissance Art and Arab Science, trans. Deborah Lucas Schneider (Cambridge, MA, and London, 2011), pp.26——35.
[289].Francis Ames-Lewis, ‘Donatello’s bronze David and the Palazzo Medici courtyard’, Renaissance Studies, no. 3, September 1989, pp.235——251.
[290].Anthony Blunt, Artistic Theory in Italy, 1450——1600 (Oxford, 1962), p.22.
[291].Leon Battista Alberti, On Painting, trans. C.Grayson (London, 1991), p.35.
[292].Kenneth Clark, ‘Leon Battista Alberti on Painting’, Annual Italian lecture of the British Academy (1944), in Proceedings of the British Academy, vol. XXX (London, 1945), pp.185——200.
[293].Alberti, On Painting, p.155.
[294].Michael Vickers, ‘Some preparatory drawings for Pisanello’s medallion of John VIII Palaeologus’, The Art Bulletin, vol. 60, no. 3, September 1978, pp.417——424.
[295].John Pope-Hennessy, Paolo Uccello (London and New York, 1950).
[296].Vasari, Lives of the Artists, vol. 1, trans. Bull, p.95.
[297].R. Weiss, The Spread of Italian Humanism (London, 1964).
[298].Kenneth Clark, ‘Andrea Mantegna’, Journal of the Royal Society of Arts, no. 5025, August 1958, pp.663——680, here p.666.
[299].Caroline Campbell et al., Mantegna and Bellini, exh. cat., National Gallery, London (London, 2018).
[300].Bernard Berenson, Italian Painters of the Renaissance (New York, 1952), p.8.
第十七章 小处见匠心
[301].Ashok Roy, ‘Van Eyck’s technique: the myth and the reality, I’, in Susan Foister, Sue Jones and Delphine Cool, eds,Investigating Jan Van Eyck (Brepols, 2000), pp.97——100.
[302].Philippe Lorentz, ‘The Virgin and Chancellor Rolin and the ofice of Matins’, in Foister, Jones and Cool, eds, Investigating Jan Van Eyck, pp.49——58.
[303].James Snyder, ‘Jan van Eyck and the Madonna of Chancellor Nicolas Rolin’, Oud Holland, vol. 82, no. 4, 1967, pp.163——171.
[304].E. Panofsky, Early Netherlandish Painting: Its Origins and Character, vol. 1 (Cambridge, MA, 1953), p.180.
[305].Jan Dumolyn and Frederik Buylaert, ‘Van Eyck’s world: court culture, luxury production, elite patronage and social distinction within an urban network’, in Maximiliaan Martens, Till-Holger Borchert, Jan Dumolyn, Johan De Smet and Frederica Van Dam, eds, Van Eyck: An Optical Revolution, exh. cat., Museum voor Schone Kunsten, Ghent (Ghent, 2020), pp.85——121, here p.93.
[306].Maximiliaan Martens, ‘Jan van Eyck’s optical revolution’, in Martens, Borchert, Dumolyn, De Smet and Van Dam, eds, Van Eyck: An Optical Revolution, pp.141——180, here p.176.
[307].Catherine Reynolds, ‘The early Renaissance in the north’, in D. Hooker, ed., Art of the Western World (London, 1989), pp.146——173, here p.148.
[308].Matthias Depoorter, ‘Jan van Eyck’s discovery of nature’, in Martens, Borchert, Dumolyn, De Smet and Van Dam, eds, Van Eyck: An Optical Revolution, pp.205——235, here p.230.
[309].Panofsky, Early Netherlandish Painting, vol. 1, p.258; Jan van der Stock, ‘De Rugerio pictore: of Rogier the painter’, in Lorne Campbell and Jan Van der Stock, eds, Rogier van der Weyden, 1400——1464: Master of Passions, exh. cat., Museum Leuven (Leuven, 2009), pp.14——23, here p.17.
[310].Moshe Barasch, ‘The crying face’, Artibus et Historiae, vol. 8, no. 15, 1987, pp.21——36.
[311].See Lorne Campbell, ‘The new pictorial language of Rogier van der Weyden’, in Campbell and Van der Storck, eds, Rogier van der Weyden, pp.32——61.
[312].Panofsky, Early Netherlandish Painting, vol. 1, p.316.
[313].Lorne Campbell, The Fifteenth Century Netherlandish Schools, National Gallery Catalogues (London, 1998), pp.46——51, here p.50.
[314].See J. M. Upton, Petrus Christus: His Place in Fifteenth-Century Flemish Painting (University Park, PA, 1990), pp.29——30.
[315].Paula Nuttall, From Flanders to Florence: The Impact of Netherlandish Painting, 1400——1500 (New Haven, CT, and London, 2004), p.61.
[316].Panofsky, Early Netherlandish Painting, vol. 1, pp.331——6; Robert M. Walker, ‘The demon of the Portinari altarpiece’, Art Bulletin, XLII, 1960, pp.218——219.
[317].‘Miserrimi quippe est ingenij semper uti inventis et numquam inveniendis’, in Matthijs Ilsink et al., Hieronymus Bosch: Painter and Draughtsman (New Haven, CT, and London, 2016), p.498.
[318].Joseph Leo Koerner, Bosch & Bruegel: From Enemy Painting to Everyday Life (Princeton, NJ, and Oxford, 2016), p.185.
[319].Ilsink et al., Hieronymus Bosch: Painter and Draughtsman, p.369.
[320].Phylis W. Lehmann, Cyriacus of Ancona’s Egyptian Visit and its Relections in Gentile Bellini and Hieronymus Bosch (NewYork, 1977), p.17.
[321].D. Landau and P. Parshall, The Renaissance Print, 1470——1550 (New Haven, CT, and London, 1994).
[322].Giulia Bartrum, German Renaissance Prints, 1490——1550 (London, 1995), p.20.
[323].The comparison is made in W. S. Gibson, ‘The Garden of Earthly Delights by Hieronymus Bosch: the iconography of the central panel’, Netherlands Yearbook for History of Art, vol. 24, 1973, pp.1——26, here p.20.
[324].‘Und will aus Ma?, Zahl und Gewicht mein Fürnehmen anfohen’, in K. Lange and F. Fuhse, Dürers Schriftlicher Nachlass (Halle, 1893), p.316.
[325].Bridget Heal, A Magniicent Faith: Art and Identity in Lutheran Germany (Oxford, 2017), pp.19——20.
[326].Ibid., p.20.
[327].Alice Hoppe-Harnoncourt, Elke Oberthaler and Sabine Pénot, eds, Bruegel: The Master, exh. cat., Kunsthistorisches Museum, Vienna (Vienna, 2018), pp.214——241.
[328].Iain Buchanan, ‘The collection of Niclaes Jongelinck: II, The Months by Pieter Bruegel the Elder’, The Burlington Magazine, vol. 132, no. 1049, August 1990, pp.541——550, here p.545.
[329].Ford Madox Hueffer, Hans Holbein the Younger (London, 1905), p.11.
[330].Jeanne Neuchterlein, Translating Nature into Art: Holbein, the Reformation, and Renaissance Rhetoric (Philadelphia, PA, 2011), pp.199——202.
第十八章 青铜国王
[331].Tom Phillips, ed., Africa: The Art of a Continent, exh. cat., Royal Academy, London (London, 1996), pp.181——182.
[332].Patricia Vinnicombe, People of the Eland (Pietermaritzburg, 1976).
[333].Mette Bovin, Nomads Who Cultivate Beauty (Uppsala, 2001); T. Russell, ‘Through the skin: exploring pastoralist marks and their meanings to understand parts of East African rock art’, Journal of Social Archaeology, vol. 13, no. 1, 2012, pp.3——30.
[334].Thurston Shaw, Unearthing Igbo-Ukwu: Archaeological Discoveries in Eastern Nigeria (Ibadan, 1977).
[335].Peter Garlake, Early Art and Architecture of Africa (Oxford, 2002), pp.117——120.
[336].Rowland Abiodun, ‘Understanding Yoruba art and aesthetics: the concept of ase’, African Arts, vol. 27, no. 3, 1994, pp.68——78.
[337].Ulli Beier, Yoruba Poetry: An Anthology of Traditional Poems (Cambridge, 1970), p.39.
[338].1897年，贝宁武士杀死了几名英国军官后，英国人发动了一场“惩罚性征讨”。城市与宫殿被毁，黄铜雕像被英国人掳掠。黄铜饰板和雕像后来被带回欧洲，如今有许多都存放在大英博物馆中。David Olusoga, First Contact: The Cult of Progress (London, 2018).
[339].Olfert Dapper, Description de l’Afrique (Amsterdam, 1686), pp.308——313.This section is translated and cited in Paula BenAmos, The Art of Benin (London, 1995), p.32.
[340].Paula Ben-Amos, ‘Men and animals in Benin art’, Man, vol. 11, no. 2, June 1976, pp.243——252.
[341].Ben-Amos, The Art of Benin, p.23.
[342].Walter E.A. van Beek, ‘Functions of sculpture in Dogon religion’, African Arts, vol. 21, no. 4, August 1988, pp.58——65, here pp.59——60.
[343].Dunja Hersak, ‘On the concept of prototype in Songye masquerades’, African Arts, vol. 45, no. 2, Summer 2012, pp.12——23, here p.14.
[344].P. S. Garlake, Great Zimbabwe (London, 1973).
[345].Webber Ndoro, ‘Great Zimbabwe’, Scientiic American, vol. 277, no. 5, November 1997, pp.94——99.
[346].Thomas N. Huffman, ‘The soapstone birds of Great Zimbabwe’, African Arts, vol. 18, no. 3, May 1985, pp.68——100.
第十九章 旷世奇才
[347].Martin Kemp, Leonardo da Vinci: The Marvellous Works of Nature and Man (London, 1981), p.42.
[348].Jean Paul Richter, ed., The Literary Works of Leonardo da Vinci, 2 vols (London, 1970), vol. 1, p.367, no. 653 from the drafts for a ‘Treatise on Painting’ (MS c.1492).
[349].Kenneth Clark, Leonardo da Vinci (London, 1939), p.152.
[350].J. W. Goethe, Observations on Leonardo da Vinci’s celebrated picture of the Last Supper, trans. G. H. Noehden (London, 1821), pp.7——8.
[351].Kemp, Leonardo da Vinci, p.201.
[352].Carlo Pedretti, ‘Newly discovered evidence of Leonardo’s association with Bramante’, Journal of the Society of Architectural Historians, vol. 32, no. 3, October 1973, pp.223——227, here p.224.
[353].Jack Freiberg, Bramante’s Tempietto, the Roman Renaissance, and the Spanish Crown (Cambridge, 2014), pp.92——101.
[354].John-Pope Hennessy, Raphael (London, 1970), p.184.
[355].E. H. Gombrich, ‘Raphael’s Stanza della Segnatura and the nature of its symbolism’, in Symbolic Images: Studies in the Art of the Renaissance (London, 1972), pp.85——101. Roger Jones and Nicholas Penny, Raphael (New Haven, CT, and London, 1983), pp.48——80.
[356].Vasari, The Lives of the Painters, Sculptors and Architects, vol.4, p.110.
[357].John Addington Symonds, The Life of Michelangelo Buonarroti (London, 1899), p.98.
[358].James Hall, Michelangelo and the Reinvention of the Human Body (London, 2005), pp.37——62.
[359].James S. Ackerman, The Architecture of Michelangelo (London, 1961), pp.97——122.
[360].Catherine King, ‘Looking a sight: sixteenth-century portraits of women artists’, Zeitschrift für Kunstgeschichte, 58, 1995, pp.381–406, here p.406.
[361].Esin Atil, The Age of Sultan Süleyman the Magniicent, exh. cat., National Gallery, Washington, BC (Washington, BC, 1987).
[362].Michael Levey, The World of Ottoman Art (London, 1975), p.67.
[363].Gülru Necipo?lu, The Age of Sinan: Architectural Culture in the Ottoman Empire (London, 2005), pp.207——222.
[364].Levey, The World of Ottoman Art, p.80.
[365].Suraiya Faroqhi, ‘Cultural exchanges between the Ottoman world and Latinate Europe’, in R. Born, M. Dziewulski and G. Messling, The Sultan’s World: The Ottoman Orient in Renaissance Art, exh. cat., Centre for Fine Arts, Brussels (Ostildern, 2015), pp.29–35, here p.29.
[366].Bernhard Berenson, The Italian Painters of the Renaissance (Oxford and London, 1932).Also Peter Humfrey, Titian: The Complete Paintings (Ghent, 2007).
[367].Philostratus the Elder, Imagines, I, 6; Humfrey, Titian, p.102.
[368].Ovid, Ars amatoria, I.
[369].Catullus, Poems, LXIV.
[370].Philostratus the Elder, Imagines, I. See also Paul Hills, Venetian Colour: Marble, Mosaic, Painting and Glass, 1250——1550 (New Haven, CT, and London, 1999).
[371].Deborah Howard, Venice and the East: The Impact of the Islamic World on Venetian Architecture, 1100——1500 (New Haven, CT,and London, 2000).
[372].Andrea Palladio, The Four Books on Architecture, trans. R. Tavernor and R. Schoield (Cambridge, MA, and London, 1997), p.5.
[373].James S. Ackerman, Palladio (London, 1966), p.39.
[374].Rudolf Wittkower, Architectural Principles in the Age of Humanism (New York, 1962), p.93. See also Howard Burns, Lynda Fairbairn and Bruce Boucher, Andrea Palladio 1508: The Portico and the Farmyard (London, 1975).
[375].The Autobiography of Benvenuto Cellini, trans.Anne MacDonnell (London, 2010), pp.355——362.
[376].John Pope-Hennessy, Cellini (London, 1985), p.185.
[377].Yael Even, ‘The Loggia dei Lanzi: a showcase of female subjugation’, Women’s Art Journal, vol. 12, no. 1, Spring——Summer 1991, pp.10——14.
[378].Charles Avery, Giambologna: The Complete Sculpture (Oxford, 1987), p.109.
[379].Ilya Sandra Perlingieri, Sofonisba Anguissola: The First Great Woman Artist of the Renaissance (New York, 1992).
第二十章 阴影与权力
[380].Judith W. Mann, ‘Artemisia and Orazio Gentileschi’, in K. Christiansen and Judith W. Mann, Orazio and Artemisia Gentileschi, exh. cat., Metropolitan Museum of Art, New York (New York, 2001), pp.248——261, here pp.255——256.
[381].Keith Christiansen, ‘Becoming Gentileschi: afterthoughts on the Gentileschi exhibition’, Metropolitan Museum Journal, vol. 39, 2004, p.10, pp.101——126, here pp.106——107.
[382].Anthony Blunt, Artistic Theory in Italy, 1450——1600 (Oxford, 1956).
[383].Letizia Treves, Beyond Caravaggio, exh. cat., National Gallery, London (London, 2016), pp.66——69.
[384].Kenneth Clark, The Nude: A Study in Ideal Form (New York, 1956), p.148.
[385].Heinrich W?lfflin, Renaissance and Baroque, trans. Kathrin Simon (New York 1961), p.85.
[386].Jacob Burckhardt, Recollections of Rubens (London, 1950), pp.42——44.
[387].See Per Rumberg, ‘Van Dyck, Titian and Charles I’, in Charles I: King and Collector, exh. cat., Royal Academy, London (London, 2018), pp.150——155.
[388].Gregory Martin, Corpus Rubenianum Ludwig Burchard: XV: The Ceiling Decoration of the Banqueting Hall, 2 vols (London and Turnhout, 2005).
[389].Anthony Blunt, Nicolas Poussin, The A. W. Mellon Lecture in the Fine Arts 1958 (New York, 1967), vol. 1, p.102.
[390].Francis Haskell and Jennifer Montagu, eds, The Paper Museum of Cassiano dal Pozzo: Catalogue Raisonné of Drawings and Prints in the Royal Library at Windsor Castle, the British Museum, Institut de France and Other Collections (London, 1994—— [ongoing]).
[391].Elizabeth Cropper and Charles Dempsey, Nicolas Poussin: Friendship and the Love of Painting (Princeton, NJ, 1996), p.110.
[392].See Malcolm Bull, The Mirror of the Gods (Oxford, 2005), pp.258——261.
[393].Walter Friedlander, Caravaggio Studies (New York, 1969), p.60.
[394].E.A. Peers, trans. and ed., Saint Teresa of Jesus: The Complete Works, 3 vols (London and New York, 1963), vol. 1, p.192.
[395].Irving Lavin, Bernini and the Unity of the Visual Arts, 2 vols (London and New York, 1980), here vol. 1, p.106.
[396].Ibid.
[397].Anthony Blunt, ‘Lorenzo Bernini: illusionism and mysticism’, Art History, vol. 1, no. 1, March 1978, pp.67——89.
[398].Lavin, Bernini and the Unity of the Visual Arts, vol. 1, pp.146——157.
第二十一章 打开窗
[399].Max Friedl?nder, Landscape-Portrait-Still-Life (New York, 1963), p.92.
[400].Karel van Mander and Hessel Miedema, eds, The Lives of the Illustrious Netherlandish and German Painters, from the First Edition of the Schilder-boeck (1603——1604) (Doornspijk, 1994——1999), vol. 1, p.190.
[401].Cited in Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (London, 1983), p.38. Alpers cites Alistair C. Crombie, ‘Kepler: De modo visionis: a translation from the Latin of Ad Vitellionem Paralipomena, V, 2, and related passages on the formation of the retinal image’, Mélanges Alexander Koyré, vol. 1 (Paris, 1964), pp.135——172.
[402].Thijs Weststeijn, ‘The Middle Kingdom in the Low Countries: Sinology in the seventeenth-century Netherlands’, in Rens Bod, Jaap Maat and Thijs Weststeijn, eds, The Making of the Humanities, vol. II, From Early Modern to Modern Disciplines (Amsterdam, 2012).
[403].Karina H. Corrigan, Jan Van Campen and Femke Diercks, eds, Asia in Amsterdam: The Culture of Luxury in the Golden Age, exh. cat., Peabody Essex Museum, Salem (New Haven, CT, and London, 2016), p.16.
[404].Michael North, Art and Commerce in the Dutch Golden Age, trans. Catherine Hill (New Haven, CT, and London, 1997).
[405].James A. Welu and Pieter Biesboer, Judith Leyster: A Dutch Master and Her World, exh. cat., Worcester Art Museum (New Haven, CT, 1993), p.162.
[406].Christopher White and Quentin Buvelot, Rembrandt by Himself, exh. cat., National Gallery, London (London, 1999), pp.220——222.
[407].H. Perry Chapman, Rembrandt’s SelfPortraits: A Study in Seventeenth-Century Identity (Princeton, NJ, 1990), p.100.
[408].Joachim von Sandrart, Lives of Rembrandt, Baldinucci and Houbraken (London, 2007).
[409].Sam Segal, A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600——1700 (The Hague, 1988), p.180.
[410].Lawrence Gowing, Vermeer (London, 1952), p.22.
[411].E. L. Sluijter, ‘Vermeer, fame and female beauty: The Art of Painting’, in Vermeer Studies: Studies in the History of Art, vol. 33 (Washington BC, 1998), pp.264——283.
[412].Simon Schama, The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age (New York, 1987), p.522.
[413].Adriaan E. Waiboer, Gabriel Metsu: Life and Work. A Catalogue Raisonné (New Haven, CT, and London, 2012), pp.129——131.
[414].Stephanie Schrader, ed., Rembrandt and the Inspiration of India, exh. cat., J. Paul Getty Museum, Los Angeles (Los Angeles, CA, 2018).
[415].Ellen Smart, ‘The death of Ināyat Khān by the Mughal artist Bālchand’, Artibus Asiae, vol. 58, no. 3/4, 1999, pp.273——279.
[416].Wheeler M.Thackston, ed., The Jahangirnama: Memoirs of Jahangir, Emperor of India (Washington, BC, 1999), pp.279——281.
第二十二章 生而为人
[417].Ju-his Chou and Claudia Brown, The Elegant Brush: Chinese Painting under the Qianlong Emperor, 1735ā1795, exh. cat., Phoenix Art Museum (Phoenix, AZ, 1985), p.2.
[418].“是一是二？不即不离。儒可墨可，何虑何思？”巫鸿译，引自李启乐，《再看是一是二图》， Archives of Asian Art, vol. 62, 2012, pp.25——46, here p.33。
[419].Michael Sullivan, The Meeting of Eastern and Western Art from the Sixteenth Century to the Present Day (London, 1973), p.68.
[420].Cheng-hua Wang, ‘A global perspective on eighteenth-century Chinese art and visual culture’, The Art Bulletin, vol. 96, no. 4, December 2014, pp.379——394.
[421].R. C. Bald, ‘Sir William Chambers and the Chinese garden’, Journal of the History of Ideas, vol. 11, no. 3, June 1950, pp.287——320; David Jacques, ‘On the supposed Chineseness of the English landscape garden’, Garden History, vol. 18, no. 2, Autumn 1990, pp.180——191.
[422].Pausanias, Description of Greece, 3, XXIII.
[423].Thomas Crow, Painters and Public Life in Eighteenth-Century Paris (New Haven, CT, and London, 1985), p.56.
[424].Perrin Stein, ‘Boucher’s chinoiseries: some new sources’, The Burlington Magazine, vol. 138, no. 1122, September 1996, pp.598ā604; Nicolas Surlapierre, Yohan Rimaud, Alastair Laing and Lisa Mucciarelli, eds, La Chine rêvée de Fran?ois Boucher: une des provinces du rococo (Paris, 2019).
[425].Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting (London, 1990), pp.91——95.
[426].Ellis K. Waterhouse, ‘English painting and France in the eighteenth century’, Journal of the Warburg and Courtauld Institutes, vol. 15, no. 3/4, 1952, pp.122——135.
[427].Judy Egerton, Hogarth’s Marriage A-laMode, exh. cat., National Gallery, London (London, 1997).
[428].Robert L. S. Cowley, Marriage A-la-Mode: A Re-View of Hogarth’s Narrative Art (Manchester, 1989), p.58.
[429].Jenny Uglow, Hogarth: A Life and a World (London, 1997), pp.387——388.
[430].Waterhouse, ‘English painting and France in the eighteenth century’, p.129.
[431].John Hayes, The Landscape Paintings of Thomas Gainsborough, vol. 1 (London, 1982), p.45.
[432].John Hayes, Gainsborough: Paintings and Drawings (London, 1975), p.213.
[433].Joshua Reynolds, ‘Discourse XIV’, in Discourses on Art, ed. Robert R. Wark (New Haven and London, 1975), pp.247ā261, here p.250.
[434].Frederic G. Stephens, English Children as Painted by Sir Joshua Reynolds (London, 1867), p.32.
[435].Joseph Baillio and Xavier Salmon, élisabeth Louise Vigée Le Brun, exh. cat., Grand Palais, Paris (Paris, 2016), p.194.
[436].Plato, Phaedo, 68, a.This translation from The Last Days of Socrates, trans. Hugh Tredennick (Harmondsworth, 1969), p.113.
[437].Anita Brookner, Jacques-Louis David (London, 1980), pp.85——86.
[438].H. H. Arnason, The Sculptures of Houdon (London, 1975), p.76.
[439].H. Honourand, J.Fleming, A World History of Art (London, 1982), p.477.
[440].A. Canellas López., ed., Francisco de Goya, diplomatario (Zaragoza, 1981), pp.516–519, here p.518.
第二十三章 诗情与画意
[441].Friedrich Schlegel, Athenaeum Fragment, no. 116, in Friedrich Schlegel, ‘Lucinde’ and the Fragments, trans. Peter Firchow (Minneapolis, MN, 1971), pp.175ā176.
[442].Cited in Lawrence Gowing, Turner: Imagination and Reality, exh. cat., Museum of Modern Art, New York (New York, 1966), p.48.
[443].Ibid., p.13.
[444].William Wordsworth, The Prelude: A Parallel Text, ed. J. C. Maxwell (Harmondsworth, 1971), p.56.
[445].Translation in Johannes Grave, Caspar David Friedrich, trans. Fiona Elliott (Munich, 2017), p.151.
[446].Ibid., p.157.
[447].Hermann Beenken, ‘Caspar David Friedrich’, The Burlington Magazine, vol. 72, no. 421, April 1938, pp.170ā173, p.175, here p.172.
[448].Novalis, Heinrich von Ofterdingen ([1800] Leipzig, 1876). Cited in Richard Littlejohns, ‘Philipp Otto Runge’s “Tageszeiten” and their relationship to romantic nature philosophy’, Studies in Romanticism, vol. 42, no. 1, Spring 2003, pp.55——74.
[449].Peter Ackroyd, Blake (London, 1995), p.119.
[450].Martin Butlin, ‘The physicality of William Blake: the large color prints of“1795”’,Huntington Library Quarterly, vol. 52, no. 1, 1989, pp.1——17.
[451].William Vaughan, Samuel Palmer: Shadows on the Wall (New Haven, CT, and London, 2015), p.110.
[452].Geoffrey Grigson, Samuel Palmer: The Visionary Years (London, 1947), p.33.
[453].Samuel Palmer, letter to John Linnell, 21 December 1828. Cited in Grigson, Samuel Palmer: The Visionary Years, pp.83——86, here p.85.
[454].“可是月已变？/可是此时春/已非旧时春？/孑然如我身/可是不曾变？”Ariwara Narihira, ‘Ise Monogatari’, The Penguin Book of Japanese Verse, trans. Geoffrey Bownas and Anthony Thwaite (London, 1964), p.67.
[455].D. B. Waterhouse, Harunobu and His Age: The Development of Colour Printing in Japan (London, 1964), p.23.
[456].Minne Tanaka, ‘Colour printing in the west and the east: William Blake and ukiyo-e’, in Steve Clark and Masashi Suzuki, eds, The Reception of Blake in the Orient (London and NewYork, 2006), pp.77——86.
[457].Deborah A. Goldberg, ‘Relections of the loating world’, The Print Collector’s Newsletter, vol. 21, no. 4, SeptemberāOctober 1990, pp.132——135.
[458].Amy G. Poster and Henry D. Smith, Hiroshige: One Hundred Famous Views of Edo (London 1986), p.10.
[459].Lorenz Eitner, Géricault’s ‘Raft of the Medusa’ (London, 1972).
[460].1857年3月5日条目. The Journal of Eugène Delacroix, trans. Walter Pach (New York, 1948), p.575.
[461].Georges Vigne, Ingres, trans.John Goodman (New York, 1995), pp.68——70.
[462].Charles Rosen and Henri Zerner, ‘The Juste Milieu and Thomas Couture’, in Charles Rosen and Henri Zerner, eds, Romanticism and Realism: The Mythology of Nineteenth-Century Art (London, 1984), pp.117——118.
[463].Cited in Willibald Sauerl?nder, ‘The continual homecoming’, New York Review of Books, vol. LIX, no. 19, 6 December 2012, pp.37_38.
[464].Kevin J. Avery, Church’s Great Picture ‘The Heart of the Andes’, exh. cat., Metropolitan Museum, New York (New York, 1993).
[465].Ibid., p.31.
[466].Gloria A.Young, ‘Aesthetic archives: the visual language of Plains ledger art’, in Edwin L.Wade, ed., The Arts of the North American Indian: Native Traditions in Evolution (NewYork, 1986), pp.45——62.
[467].Gaylord Torrence, ed., The Plains Indians: Artists of Earth and Sky, exh. cat., Metropolitan Museum of Art, New York(New York, 2015), p.83
第二十四章 日常的革命
[468].Larry J. Schaaf, Sun Gardens: Victorian Photograms by Anna Atkins (New York, 1985).
[469].Julian Cox, ‘“To … startle the eye with wonder & delight”: the photographs of Julia Margaret Cameron’, in Julian Cox and Colin Ford, eds, Julia Margaret Cameron: The Complete Photographs (London, 2003), pp.41——79, here p.42.
[470].Théophile Thoré, ‘Nouvelles tendances de l’art’, in Salons der Th.Thoré, 1844–1848 (Paris, 1868).
[471].Meyer Schapiro, ‘Courbet and popular imagery: an essay on realism and na?veté’, in Journal of the Warburg and Courtauld Institutes, vol. 4, no. 3/4 (April 1941–July 1942), pp.164–191, here p.168.
[472].T. J. Clark, Image of the People: Gustave Courbet and the 1848 Revolution (London, 1973).
[473].C. R. Leslie, Memoirs of the Life of John Constable: Composed Chiely of His Letters (London, 1845), p.15.
[474].Ibid., p.93.
[475].Ibid., p.93.
[476].Alexis de Tocqueville, Journeys to England and Ireland, trans. G. Lawrence and K. P. Mayer (London, 1958), p.67.
[477].Octavio Paz, Essays on Mexican Art, trans. Helen Lane (New York, 1993), pp.85——110, here p.89. Raquel Tibol, Hermenegildo Bustos, pintor del pueblo (Guanajuato, 1981).
[478].Gabriel P.Weisberg, The Realist Tradition: French Painting and Drawing, 1830——1900, exh. cat., Cleveland, Museum of Art, 1980, pp.82——86.
[479].Cited in Kenneth Clark, Drawings by Jean-Fran?ois Millet, exh. cat., Arts Council, London (London, 1956), p.53.
[480].J.-K. Huysmans, Oeuvres complètes de J. K. Huysmans (Paris, 1928), pp.140——142. Weisberg, The Realist Tradition, p.4.
[481].W. Busch, Adolph Menzel: Leben und Werk (Munich, 2004) ; Carola KleinstückSchulman, Adolf Menzel:The Quest for Reality (Los Angeles, CA, 2017), p.235.
[482].门采尔对画作的描述，Claude Keisch and Marie Ursula Riemann-Reyher, eds, Adolph Menzel 1815ā1905: Between Romanticism and Impressionism, exh. cat., National Gallery, Washington, BC (Washington, BC, 1996), p.385。
[483].Ibid., p.13.
[484].Alan Bowness, Poetry and Painting: Baudelaire, Mallarmé, Apollinaire and Their Painter Friends (Oxford, 1994), p.7.
[485].Charles Baudelaire, ‘The painter of modern life’, in The Painter of Modern Life and other Essays, trans.Jonathan Mayne(London, 1964), p.4.
[486].Wolfgang Schivelbusch, Disenchanted Night: The Industrialisation of Light in the Nineteenth Century, trans.Angela Davies (Berkeley and Los Angeles, CA, 1988), p.56.
[487].Stéphane Mallarmé, ‘The Impressionists and édouard Manet’, The Art Monthly Review and Photographic Portfolio, 30 September 1876.
[488].Monet to Bazille, September 1868. Cited in John Rewald, The History of Impressionism (New York, 1946), p.164.
[489].Frederick Wedmore, ‘Pictures in Paris ā the exhibition of “Les Impressionistes”’, The Examiner, 13 June 1874, pp.633——634. Repr. in Ed Lilley, ‘A rediscovered English review of the 1874 Impressionist exhibition’, The Burlington Magazine, vol. 154, no. 1317, December 2012, pp.843——845.
[490].George Moore, Impressions and Opinions (London, 1891), p.308.
[491].Richard Kendall and Jill DeVonyar, Degas and the Ballet: Picturing Movement, exh. cat., Royal Academy, London (London, 2011), p.22; Lillian Browse, Degas Dancers (London, 1949), p.54.
[492].J.-K. Huysmans, ‘Exhibition of the Independents in 1880’, trans. Brendan King, in J.-K. Huysmans, Modern Art (L‘Art moderne) (Sawtry, 2019), pp.99ā132, here p.123.
[493].Cited in Kathleen Adler, Mary Cassatt: Prints, exh. cat., National Gallery, London (London, 2006), p.9. George Shackelford, ‘Pas de deux: Mary Cassatt and Edgar Degas’, in Judith A. Barter, Mary Cassatt: Modern Woman, exh. cat., The Art Institute of Chicago (Chicago, IL, 1998), pp.109——143, here p.132.
[494].Rewald, Impressionism, pp.401——402.
[495].George Moore, Impressions and Opinions (London, 1891), p.313.
第二十五章 山海
[496].John Ruskin, Modern Painters, vol.IV, Of Mountain Beauty (London, 1856), p.92.“在几乎所有的时代，这些荒凉骇人的昏暗山峦，人们都心怀憎恶或恐惧地仰望，然后畏缩后退，仿佛山上总有死神游**。可事实上，这里也有着生机与欢乐，丰富而仁慈，远远超过了那些明亮丰饶的平原。”
[497].Hidemichi Tanaka, ‘Cézanne and “Japonisme”’, Artibus et Historiae, vol. 22, no. 44, 2001, pp.201–220, here p.209.
[498].Theodore Reff, ‘Cézanne and Poussin’, Journal of the Warburg and Courtauld Institutes, vol. 23, no. 1/2, January–June 1960, pp.150–174.
[499].Alex Danchev, The Letters of Paul Cézanne (London, 2013), p.334.
[500].Maurice Denis and Roger Fry, ‘Cézanne – I’, The Burlington Magazine, vol. 16, no. 82, January 1910, pp.207–219.
[501].“艺术品就是用心看到的一片风景”，引自émile Zola, Mes haines: causeries littéraires et artistiques (Paris, 1879), p.307。
[502].“那明艳的红色屋顶，白色的墙壁，绿色的杨树，黄色的杨树，黄色的道路和蓝色的水。在日本之前，这些都是不可能的，画家们一直在骗人。”Théodore Duret, Histoire des peintres impressionnistes: Pissarro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin ([1874] Paris, 1922), p.176.
[503].Vincent Van Gogh to Paul Gauguin, 3 October 1888, in Leo Jansen, Hans Luijten and Nienke Bakker, Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition (London and New York, 2009), vol. 4, pp.304——305.
[504].文森特·凡·高给弟弟提奥的书信，1888年10月3日。The Complete Letters of Vincent Van Gogh, vol. 2 (London, 1978), p.597.
[505].Judy Sund, ‘The sower and the sheaf: biblical metaphor in the art of Vincent van Gogh’, The Art Bulletin, vol. 70, no. 4, December 1988, pp.660ā676, here p.666.
[506].Nienke Bakker and Louis van Tilborgh,Van Gogh &Japan, exh. cat., Van Gogh Museum, Amsterdam (New Haven, CT, 2018), pp.26——27.
[507].保罗·高更给文森特·凡·高的书信，1888年9月26日。
[508].Emile Bernard, Souvenirs inédits sur l’artiste peintre Paul Gauguin et ses compagnons lors de leur séjour Pont-Aven et au Pouldu (Paris, 1939), pp.9–10; Mathew Herban III, ‘The origin of Paul Gauguin’s Vision after the Sermon: Jacob Wrestling with the Angel (1888)’, The Art Bulletin, vol. 59, no. 3, September 1977, pp.415–420.
[509].Paul Gauguin to émile Schuffenecker, August 1988. Cited in Rewald, Impressionism, p.406.
[510].Elizabeth C. Childs, Vanishing Paradise: Art and Exoticism in Colonial Tahiti (Berkeley, CA, 2013), p.71.
[511].Claire Frèches-Thory, ‘The paintings of the irst Polynesian sojourn’, in George T. M. Shackleford and Claire Frèches-Thory, eds, Gauguin Tahiti: The Studio of the South Seas, exh. cat., Galeries Nationales du Grand Palais, Paris (Paris, 2004), pp.17——45, here p.24.
[512].Alastair Wright, ‘Paradise lost: Gauguin and the melancholy logic of reproduction’, in Alastair Wright and Calvin Brown, Paradise Remembered: The Noa Noa Prints, exh. cat., Princeton University Art Museum (Princeton, NJ, 2010), pp.49ā99, here p.56.
[513].Eric Kjellgren and Carol S. Ivory, Adorning the World: Art of the Marquesas Islands, exh. cat., Metropolitan Museum of Art, New York (New Haven, CT, and London, 2005), p.11.
[514].Leah Caldeira, Christina Hellmich, Adrienne L. Kaeppler, Betty Lou Kam and Roger G. Rose, Royal Hawaiian Featherwork: na hulu ali’i, exh. cat., de Young Museum, San Francisco (Honolulu, HA, 2015), p.26.
[515].Christian Kaufmann, Korewori: Magic Art from the Rainforest, exh. cat., Museum der Kulturen, Basel (Honolulu, HA, 2003), p.25.
[516].Jean Moréas, ‘Le symbolisme’, Le Figaro, 18 September 1886.
[517].Edmund Wilson, Axel’s Castle: A Study in the Imaginative Literature of 1870——1930 (New York, 1931), p.17.
[518].“自然是一庙堂，那里活的柱石/不时地传出模糊隐约的语音。”Charles Baudelaire, Oeuvres complètes (Paris, 1954), p.87.
[519].Sarah Whitield, ‘Fragments of an identical world’, in Bonnard, exh. cat., Tate Gallery, London (London, 1998), pp.9——31, here p.11; also Nicholas Watkins, Bonnard (London, 1994), pp.21——22.
[520].Frances Carey and Anthony Grifiths, From Manet to Toulouse-Lautrec: French Lithographs, 1860——1900, exh. cat., British Museum, London (London, 1978), p.13.
[521].‘Japonisme d’Art’, Le Figaro Illustré, February 1893.
[522].James Deans, ‘Carved columns or totem poles of the Haidas’, The American Antiquarian, vol. XIII, no. 5, September 1891, pp.282——287, here p.283.
[523].James Deans, ‘The moon symbol on the totem posts on the northwest coast’, The American Antiquarian, vol. XIII, no. 6, November 1891, pp.341——346, here p.342.
[524].David Attenborough, The Tribal Eye (London, 1976), p.30.
[525].T. A. Joyce, ‘A totem pole in the British Museum’, The Journal of the Anthropological Institute of Great Britain and Ireland, vol. 33, 1903, pp.90——95.
[526].Iris Müller-Westermann, Hilma af Klint– A Pioneer of Abstraction, exh. cat., Moderna Museet, Stockholm (Ostfildern, 2013), p.37.
[527].John Ruskin, Modern Painters, vol. IV, Of Mountain Beauty, p.100.
第二十六章 新世界
[528].Jack Flam, Matisse: The Man and His Art, 1869——1914 (London, 1986), p.283.
[529].Henri Matisse, ‘Notes of a painter, 1908’,in Jack D. Flam, ed., Matisse on Art (New York, 1978), pp.32——40, here p.36.
[530].Ibid., p.38.
[531].现在，这些艺术家并不寻求给予，毕竟，可能只是实际外观的苍白反映，而是唤起对一个新的和明确的现实的信念。他们不寻求模仿形式，而是创造形式，不是模仿生活，而是为生活寻找等价物。Roger Fry, Vision and Design London (1923 [1920]), p.239.
[532].F. T. Marinetti, ‘The founding and manifesto of futurism 1909’, in Umbro Apollonio, ed., Futurist Manifestos (London, 1973), pp.19——24.
[533].John Milner, Mondrian (London, 1992), p.67.
[534].Piet Mondrian, ‘The new plastic in painting (1917)’, repr. in Harry Holtzman and Martin S.James, ed. and trans., The New Art —— The New Life: The Collected Writings of Piet Mondrian (London, 1987), pp.28——31.
[535].Piet Mondrian, ‘Plastic art and pure plastic art (1936)’, repr. in Holtzmanand James, ed. and trans., The New Art —— The New Life, pp.289——300.
[536].Ibid., p.292.
[537].Viktor Shklovsky, ‘Art as device, 1917’, repr. in Alexandra Berlina, ed. and trans., Viktor Shklovsky: A Reader (London, 2017), pp.73——96.
[538].Kazimir Malevich, ‘From Cubism and Futurism to Suprematism: the new painterly realism’, in John E. Bowlt, Russian Art of the Avant-Garde: Theory and Criticism, 1902ā1934 (New York, 1976).
[539].John Dos Passos, ‘Paint the Revolution’, New Masses, March 1927, p.15.
[540].Hayden Herrera, Frida.A Biography of Frida Kahlo (New York, 1983), p.62
[541].Ibid., p.75
[542].Wieland Herzfelde and Brigid Doherty, ‘Introduction to the First International Dada Fair’, October, Summer 2003, vol. 105, pp.93——104, here p.101.
[543].Sigmund Freud, ‘Creative writers and day-dreaming, 1908’, in Freud, Collected Papers, vol. 4, ed.James Strachey (London, 1959), pp.141——153.
[544].Charles C. Eldredge, Georgia O’Keeffe (NewYork, 1991), pp.82——83.
[545].André Breton, ‘Manifesto of Surrealism (1924)’, in Breton, Manifestoes of Surrealism, trans. Richard Seaver and Helen R. Lane (Ann Arbor, MI, 1969), pp.3——47, here p.26.
[546].Dawn Ades, Dalí: The Centenary Retrospective, exh. cat., Palazzo Grassi, Venice (London, 2005), p.118.
[547].Salvador Dalí, ‘The Rotting Donkey’, trans. in Dawn Ades, Dalí: The Centenary Retrospective, pp.550——51; ‘L’?ne pourri’,La Femme visible (Paris, 1930), pp.11——20.
[548].Paul Klee, On Modern Art (London, 1945), p.51.
[549].Reinhold Hohl, Alberto Giacometti: Sculpture, Painting, Drawing (London, 1972), p.101.
[550].James Weldon Johnson, ‘Harlem: the culture capital’, in Alain Locke, ed., The New Negro: An Interpretation (NewYork, 1925), pp.301——311.
[551].James A. Porter, Modern Negro Art (New York, 1943), p.151.
[552].Ibid., p.151.
第二十七章 创伤之后
[553].Martin Heidegger, ‘The origin of the work of art’, Basic Writings: From “Being and Time” (1927) to “The Task of Thinking” (1964), rev. and ed. David Farrell Krell (London, 1993), pp.143——165.
[554].Jean-Paul Sartre, Existentialism and Humanism, trans. Philip Mairet (London, 1948), p.49.
[555].Barnett Newman, ‘The irst man was an artist’, The Tiger’s Eye, no. 1, October 1947; repr. in Barnett Newman, Selected Writings and Interviews (Berkeley, CA, 1990), pp.156ā160, here p.160.
[556].Harold Rosenberg, ‘The American action painters’, ART news, January 1952, pp.22ā23, 48——50.
[557].Rosalind Krauss, Terminal Iron Works: The Sculpture of David Smith (Cambridge, MA, 1971).
[558].Lygia Clark, ‘The Bichos’ (1960), trans. in Cornelia H. Butler and Luis Pérez-Oramas, eds, Lygia Clark: The Abandonment of Art, 1948ā1988, exh. cat., Museum of Modern Art, New York (New York, 2014), p.160; ‘Letter to Piet Mondrian, May 1959’, trans. in Butler and Pérez-Oramas, eds, Lygia Clark: The Abandonment of Art, p.59.Briony Fer, ‘Lygia Clark and the problem of art’, in Butler and Pérez-Oramas, eds, Lygia Clark: The Abandonment of Art, pp.223——228.
[559].Cited in Paul Moorhouse, Interpreting Caro (London, 2005), p.12.
[560].John-Paul Stonard, ‘Pop in the age of boom: Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing?’, The Burlington Magazine, vol. CXLIX, no. 1254, September 2007, pp.607——620.
[561].Andy Warhol and Pat Hackett, POPism: The Warhol Sixties ([1980] London, 2007), p.64.
[562].Walter Benjamin, ‘The work of art in the age of its technological reproducibility’, in Benjamin, The Work of Art in the Age of Its Technological Reproducibility and Other Writings on Media, ed. Michael W.Jennings, Brigid Doherty and Thomas Y. Levin, trans. Edmund Jephcott, Rodney Livingstone, Howard Eiland et al. (Cambridge, MA, and London, 2008), pp.19——55.
[563].Julia F. Andrews, Painters and Politics in the People’s Republic of China, 1949——1979 (Berkeley, CA, 1994), p.365.
[564].Ibid., p.365.
[565].Katy Siegel, ‘Art, world, history’, in Okwui Enwezor, Katy Siegel and Ulrich Wilmes, eds, Postwar: Art between the Paciic and the Atlantic, 1945–1965, exh. cat., Haus der Kunst, Munich (Munich, 2016), pp.43——57, here p.49.
[566].James Baldwin, The Fire Next Time (London, 1963), p.80.
[567].摘自安娜·门迭埃塔1981年9月在纽约阿尔弗雷德大学的演讲。Stephanie Rosenthal, ed., Traces: Ana Mendieta, exh.cat., Hayward Gallery, London (London, 2013), p.208.
[568].Armin Zweite, ed., Beuys zu Ehren, exh. cat., St?dtische Galerie im Lehnbachhaus, Munich (Munich, 1986); Bruno Heimberg and Susanne Willisch, eds, Joseph Beuys, Das Ende des 20.Jahrhunderts: Die Umsetzungvom Haus derKunst in die Pinakothek derModerne München / Joseph Beuys, The End of the 20th Century: The Move from the Haus der Kunst to the Pinakothek derModerne Munich (Munich, 2007).
[569].Craig Owens, ‘The Medusa effect or, the spectacular ruse’, in Iwona Blazwick and Sandy Nairne, We Won’t Play Nature to Your Culture: Barbara Kruger, exh. cat., ICA, London (London, 1983), pp.5——11, here p.6.
[570].Richard Shone, ‘Rachel Whiteread’s “House”, London’, The Burlington Magazine, no. 1089, December 1993, pp.837——888.