- 期刊
Orders of Things-Orders of the Line: Resemblance and Systematisation in Science and the Visual Arts in 17(superscript th) Century Europe
萬物的秩序－線條的秩序：探究十七世紀歐洲科學與視覺藝術中的類比性與系統化
摘要
歐洲在十六世紀對自然界的歷史，是經由許多不同的方法與藉由事物外貌而獲得，它們是以「形態學的描述」為基礎，形態描述也是獲得科學知識的關鍵方法，利用它收錄對植物、動物以及其他現象的圖像描繪；科學與藝術緊密結合的特質，代表一種新象徵，這種結合能夠顯露出隱藏在自然界的內在意義和內在力量。從另一個角度看，它們傳達了新分類系統的標準，十七世紀時，分類學意圖打破追些只觀察事物外表的鬆散特質，因此，在一些專業科學研究的領域中，它們便幾乎與圖像失去連繫。 但是，這並未使科學和藝術的關係終止，除了部分替代圖片仍然像以前一樣被使用外，在意義和圖像詮釋的技術上都深深地現代化了。巴黎版畫家和理論家Abraham Bosse便出版了一本對線條作系統化分析的書，它是了解表達圖像的一個基本元素，他的銅製版畫對現今歐洲知識的傳播是非常重要，且銅製版畫也是一種客觀的表達。
並列摘要
In 16th century European natural history visible appearances of things were in different ways very important. They were the basis for ”morphological description”, which was a key procedure of scientific knowledge as well as of pictorial representation of plants, animals and other phenomena. Both-science and art-were intensely interwoven. Here these visible qualities were on the one hand signs, which revealed hidden meanings and powers of nature. On the other hand they passed on the criteria of new taxinomical systems. During the 17th century however taxinomical classifications tended to break loose of the qualities visible on the surface of things. In some fields of professional scientific research therefore, pictorial representation significantly lost its relevance. But this was not the end of a close relationship between advanced scientific practice and art. Besides the partial replacement of pictures as formerly favoured method of representation, the means and devices of pictorial representation were also profoundly modernised. The Paris printmaker and theorist Abraham Bosse for instance published a systematical order of the line as a basic element of pictorial representation. Following him specially copper engraving, which was very important for the circulation of knowledge in Europe, could claim a new objectivity.
參考文獻
延伸閱讀
- 賴瑞鎣（2006）。盛期文藝復興繪畫成就的探討－構圖中完美與和諧的分析。藝術評論，(16)，151-180。https://www.airitilibrary.com/Article/Detail?DocID=10156240-200610-x-16-151-180-a
- 姜一涵（2010）。《一個中國藝術家的宇宙觀》導論－以「新六玄論」宇宙的時空定位。藝術與文化論衡，(1)，1-18。https://doi.org/10.29524/TVAC.201009.0001
- 謝攸青（2019）。後結構藝術表達之哲學圖表的美育運用--依據德勒茲的差異與重複理論〔博士論文，國立臺灣師範大學〕。華藝線上圖書館。https://doi.org/10.6345/DIS.NTNU.DFA.006.2019.A10
- 謝淑蓉（2009）。生命的律動--空間與分割繪畫的創作研究〔碩士論文，國立臺灣師範大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0021-1610201315161312
- 陳怡儒（2010）。非線性思惟運用於視覺識別設計之創作研究〔碩士論文，朝陽科技大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0078-0601201112113714