语言习惯与视觉认知
|
摘要
迈克尔·巴克森德尔教授被誉为20世纪最伟大的艺术史家之一，他的研究不仅仅在艺术史领域，还在社会史、视觉神经生理学等其他领域内产生了巨大影响。巴克森德尔的研究兴趣呈现出了跨学科性，因此有时候被归为“传统艺术史派”，有时候又被归为“新艺术史派”。
巴克森德尔教授通常被认为是社会艺术史方法的代表人物，这种研究方法强调通过与艺术相关的社会、经济和政治等外部因素解释艺术风格问题，从某种程度而言，这是对巴克森德尔思想的误读。巴克森德尔认为不应该仅仅把风格问题作为艺术史研究的主题，而应该把风格视为解释社会、文化的史料证据。他同时强调，艺术史研究应该关注视觉问题，图像并不是语词的附庸，视觉材料与文献材料在解释历史、文化的过程中具有同等的地位。
巴克森德尔教授出版的所有著作都在探讨语词与图像这一问题。本文无意于撰写成一篇关于巴克森德尔教授的传记，而是通过对巴克森德尔教授三本代表著作的解读，探讨其艺术史研究中“语言习惯与视觉认知”（即语言是如何建构画家的创作方式和公众的观看方式）这一研究模式及其理论来源。
本文共分为五章。导论中的一、二部分阐述了20世纪初期艺术史在德语国家和英国本土的发展情况，第三部分交待了本文选题的理由、采用的研究方法和研究过程中遇到的问题。第一章回顾了巴克森德尔步入艺术史界之前，即从古典时期到20世纪50年代这段时期内西方重要学者对“语词与图像”这一问题的论述。第二章阐述了巴克森德尔如何从人文主义者拉丁语的角度来解决语言习惯与视觉认知的关系。第三章阐述了巴克森德尔如何从“时代之眼”的观念来解释认知风格的问题。第四章阐述了巴克森德尔如何从“视觉清晰度”、“视觉注视”等视觉理论观念来解释夏尔丹的绘画风格。第五章阐述了巴克森德尔的“语言习惯与视觉认知”这种研究模式的理论来源，即语言学领域中关于“语言与认知”的讨论。附录1记录了巴克森德尔的成长经历和学术背景。附录2是巴克森德尔教授发表的所有著作、论文列表。
Michael Baxandall is praised as one of the greatest art historians in the20thcentury.His researches have exercised powerful influence not only over the field of art history,but also over other fields such as social history, visual neurophysiology, etc. His rangeof interests has sometimes embodied the kind of interdisciplinarity. His books areplaced sometimes in the school of new art history and sometimes in the school oftraditional art history.
Michael Baxandall is always considerd as the principal exponent of social historyof art, which explains the style of art based on external factors such as society,economy, politics,etc. To some extent, this is misinterpretation of his thought. Headvocated that the style of art should be seen not only as the subject of art history butalso as the evidence explaining society and culture. He also recommended that imageshould not be attached to word, and both of them have the equal effectiveness toexplain society and culture, so art historians should pay more attention to the issue ofvision.
The issue of word and image is the common topic of all his books. This is not abiography of Michael Baxandall. This thesis which based on the analysis of his threerelated books sets out to demonstrate the theoretical model of ‘linguistic habit andvisual cognition’ in his study and its resources.
The introduction of the thesis depicts the development of the discipline of arthistory in German-speaking countries and United Kingdom in the early20thcentury,and tells the reasons, approaches, difficulties encountered of the study in this thesis.Chapter1trys to review the development of the issue of word and image from Classicperiod to1950s. Chapter2discusses the relationship between linguistic habit andvisual cognition by analyzing the humanist Latin. Chapter3explains the cognitivestyle according to the idea of ‘the period eye’. Chapter4identifies the style ofChardin’s paintings in terms of the ideas of ‘distinctness of vision’ and ‘viaualattention’. Chapter5traces the resources of Michael Baxandall’s thoughts to the fieldof linguistics. Appendix1is a concise biography of Michael Baxandall. Appendix2isa list of all papers and books which written by Michael Baxandall.
巴克森德尔教授通常被认为是社会艺术史方法的代表人物，这种研究方法强调通过与艺术相关的社会、经济和政治等外部因素解释艺术风格问题，从某种程度而言，这是对巴克森德尔思想的误读。巴克森德尔认为不应该仅仅把风格问题作为艺术史研究的主题，而应该把风格视为解释社会、文化的史料证据。他同时强调，艺术史研究应该关注视觉问题，图像并不是语词的附庸，视觉材料与文献材料在解释历史、文化的过程中具有同等的地位。
巴克森德尔教授出版的所有著作都在探讨语词与图像这一问题。本文无意于撰写成一篇关于巴克森德尔教授的传记，而是通过对巴克森德尔教授三本代表著作的解读，探讨其艺术史研究中“语言习惯与视觉认知”（即语言是如何建构画家的创作方式和公众的观看方式）这一研究模式及其理论来源。
本文共分为五章。导论中的一、二部分阐述了20世纪初期艺术史在德语国家和英国本土的发展情况，第三部分交待了本文选题的理由、采用的研究方法和研究过程中遇到的问题。第一章回顾了巴克森德尔步入艺术史界之前，即从古典时期到20世纪50年代这段时期内西方重要学者对“语词与图像”这一问题的论述。第二章阐述了巴克森德尔如何从人文主义者拉丁语的角度来解决语言习惯与视觉认知的关系。第三章阐述了巴克森德尔如何从“时代之眼”的观念来解释认知风格的问题。第四章阐述了巴克森德尔如何从“视觉清晰度”、“视觉注视”等视觉理论观念来解释夏尔丹的绘画风格。第五章阐述了巴克森德尔的“语言习惯与视觉认知”这种研究模式的理论来源，即语言学领域中关于“语言与认知”的讨论。附录1记录了巴克森德尔的成长经历和学术背景。附录2是巴克森德尔教授发表的所有著作、论文列表。
Michael Baxandall is praised as one of the greatest art historians in the20thcentury.His researches have exercised powerful influence not only over the field of art history,but also over other fields such as social history, visual neurophysiology, etc. His rangeof interests has sometimes embodied the kind of interdisciplinarity. His books areplaced sometimes in the school of new art history and sometimes in the school oftraditional art history.
Michael Baxandall is always considerd as the principal exponent of social historyof art, which explains the style of art based on external factors such as society,economy, politics,etc. To some extent, this is misinterpretation of his thought. Headvocated that the style of art should be seen not only as the subject of art history butalso as the evidence explaining society and culture. He also recommended that imageshould not be attached to word, and both of them have the equal effectiveness toexplain society and culture, so art historians should pay more attention to the issue ofvision.
The issue of word and image is the common topic of all his books. This is not abiography of Michael Baxandall. This thesis which based on the analysis of his threerelated books sets out to demonstrate the theoretical model of ‘linguistic habit andvisual cognition’ in his study and its resources.
The introduction of the thesis depicts the development of the discipline of arthistory in German-speaking countries and United Kingdom in the early20thcentury,and tells the reasons, approaches, difficulties encountered of the study in this thesis.Chapter1trys to review the development of the issue of word and image from Classicperiod to1950s. Chapter2discusses the relationship between linguistic habit andvisual cognition by analyzing the humanist Latin. Chapter3explains the cognitivestyle according to the idea of ‘the period eye’. Chapter4identifies the style ofChardin’s paintings in terms of the ideas of ‘distinctness of vision’ and ‘viaualattention’. Chapter5traces the resources of Michael Baxandall’s thoughts to the fieldof linguistics. Appendix1is a concise biography of Michael Baxandall. Appendix2isa list of all papers and books which written by Michael Baxandall.
引文
1F.Antal,‘Remarks on the Method of Art History: I’, The Burlington Magazine, Vol.91, No.551,(Feb.,1949),pp.49.
2范景中，美术史的形状：从瓦萨里到20世纪20年代，杭州：中国美术学院出版社，2003年，第207页。
3F.Antal,‘Remarks on the Method of Art History: I’, The Burlington Magazine, Vol.91, No.551,(Feb.,1949),
6M.Meiss,‘Italian Primitives at Konopiste’, Art Bulletin, xxviii,1946.
7E.H.Gombrich,“Botticelli’s Mythologies: A Study in the Neo-Platonic Symbolism of his Circle”,Gombrich on The Renaissance, Vol.2, Phaidon1985, pp.31.
8Hans Sedlmayr, Art in Crisis: the lost center, Brian Battershaw, trans., London: Hollis and Carter,1957.该书最初是以德文出版，Verlust der Mitte: die bildende Kunst des19. und20. Jahrhunderts als Symptom undSymbol der Zeit, Salzburg: O. Müller,1948.后经Brian Battershaw翻译成英文，于1957年发行英文版。
9Allan Langdale, Interview with Michael Baxandall, Feb.3,1994, Berkeley,CA, pp.7.
10Ernst Cassirer,‘The Influence of Language upon the Development of Scientific Thought’, The Journal ofPhilosophy, Vol.39, No.12,(Jun.4,1942),pp.309－327.
11Jonathan Harris, The New Art History: A critical introduction, Routledge2001, pp.42-43.
13亚里士多德，陈中梅译注，诗学，北京:商务印书馆，1996年，第27页。
14同上，第47页.
15Horace. T.S.Dorsch English Translation. On The Art Of Poetry. Penguin Books Ltd.1965.[古罗马]贺拉斯，郝久新译，北京:九州岛出版社，2007年，第129页。
16亚里士多德，陈中梅译注，诗学，北京:商务印书馆，1996年，第177页。
17同上，第38页。
18同上，第113页。
19Horace. T.S.Dorsch English Translation. On The Art Of Poetry. Penguin Books Ltd.1965.[古罗马]贺拉斯，郝久新译，北京:九州岛出版社，2007年，第139页。
20Gotthold Ephraim Lessing, Laokoon and How The Ancients Represented Death, London G.Bell and Sons,LTD.1914, pp.129.
21Gotthold Ephraim Lessing, Laokoon and How The Ancients Represented Death, London G.Bell and Sons,LTD.1914, pp.130-131.
22Ibid, pp.98.
23Ibid, pp.98.
24Ibid, pp.131.
25德沃夏克，作为精神史的美术史，陈平译，北京大学出版社，2010年，第80页。
26同上，第82页。
27同上，第81页。
28同上，第85页。
29同上，第86页。
30Ernst R.Curtius, European Literature and the Latin Middle Ages, W.R.Trask trans., Bollingen Press, NewYork,1953, p.7, pp.436-438.
31“Amant enim……”Aeneas Silvius Piccolomini, Letters, Rudolph Wolkan, ed., as Der Briefwechsel desEneas Silvius Piccolomini, Vienna,1918,II,100.note.
32John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburgand Courtauld Institutes, Vol.20, No.1/2(Jan.-Jun.,1957), pp.26-27.
33Ibid, pp.33.
34Ibid, pp.39.
35Ibid, pp.31.
36Ibid, pp.40.
37Cicero, De inventione, II,I,1-3.
38Cicero, De oratore, II,xxxv,147.“Et sic, cum ad inveniendum in dicendo tria sint; acumen, deinde ratio, quamlicet, si volumus, appellemus artem, tertium diligentia, non possum equidem non ingenio primas concedere,…”
39John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburgand Courtauld Institutes,Vol.20, No.1/2(Jan.-Jun.,1957), pp.36.
40Ibid, pp.35.
41Ibid, pp.41-43.
42Ibid, pp.37.
43Cicero, De oratore, II, xxviii,117-151.
44Norbert Elias, The Civilizing Process, E.Jephcott, trans., New York:Urizen Books,1978.
45二十世纪六十年代，巴克森德尔在《瓦尔堡和考陶尔德研究院期刊》上发表了一系列文章：MichaelBaxandall and E. H. Gombrich,‘Beroaldus on Francia’, Journal of the Warburg and Courtauld Institutes,25,1962,pp.113-115; Michael Baxandall,‘A Dialogue on art from the Court of Leonello D’Este: Angelo Decembrio’s DePolitia Litteratia pars LXVIII’, Journal of the Warburg and Courtauld Institutes,26,1963, pp.304-326; MichaelBaxandall,‘Bartholomaeus Facius on Painting’, Journal of the Warburg and Courtauld Institutes,27,1964,pp.90-107; Michael Baxandall,‘Guarino, Pisanello and Manuel Chrysoloras’, Journal of the Warburg andCourtauld Institutes,28,1965, pp.183-204.
46Allan Langdale, Interview with Michael Baxandall, Feb.,3,1994, Berkeley,CA, pp.6.
47Augusto Campana,“The Origin of the Word ‘Humanist’”, Journal of the Warburg and CourtauldInstitutes, Vol.9,(1946), PP.60-61.
48Ibid, PP.66-67.
49W.Jaeger, Humanism and Theology, Milwaukee,1943,20ff,72ff; R.Pfeiffer, Humanitas Erasmiana,Leipzig-Berlin,1931.
50New Dictionary of The History of Ideas,THOMSON,2005,Vol.3, pp.1029.
51Paul Oskar Kristeller,‘Florentine Platonism and Its Relations with Humanism and Scholasticism’, ChurchHistory, Vol.8,No.3(Sep.,1939), pp.202.
52Paul Oskar Kristeller, Renaissance Thought: The Classic,Scholastic,and Humanistic Strains,Harper&Row,1961,pp.18.
53Paul Oskar Kristeller, Renaissance Thought: The Classic,Scholastic,and Humanistic Strains, Harper&Row,1961,pp.6-7.
54Paul Oskar Kristeller,‘Florentine Platonism and Its Relations with Humanism and Scholasticism’, ChurchHistory, Vol.8,No.3(Sep.,1939), pp.201.
55John R.Spencer,‘Ut Rhetorica Pictura:A Study in Quattrocento Theory of Painting’, Journal of the Warburgand Courtauld Institutes, Vol.20,No.1/2,(Jan.-Jun.,1957), pp.28-29.
56Leonardo Bruni, Epistolarum libri VIII,ed.L.Mehus,ii, Florence,1731,62-8(vi.10).
57Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.6-7.
58Ibid, pp.8.
59Ibid, pp.9-11.
60Ibid, pp.11-12.
61Ibid, pp.14.
62John Edwin Sandys, A History of Classical Scholarship–From The Sixth Century B.C. To The End Of The
6M3iddle Ages, Cambridge University Press,1903, pp.78.Aristotle, Rhetoric, The Complete Works of Aristotle Vol.2, Princeton University Press,1984, pp.119.
64Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery of
pictorial composition1350-1450,Oxford,1971, pp.20.
65Ibid, pp.20-21.
66Ibid, pp.29.
67Alberti, De Pictura,Vatican Library, MS.Ottob.lat.1424, fol.22r-v.
68Alberti, Della pittura, ed.L.Mallè, Florence,1950, pp.100-1.
69西塞罗的《论演说家》的第22卷73部分，里面讲到的画家是阿佩莱斯而非宙克西斯。
70Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.34.
71克罗顿人通过公共法令将少女聚集在一个地方，让画家宙克西斯任意选择一位作为模特。然而画家选了五位少女，画家认为美的各种要素无法在同一位模特身上找到。画家从不同模特身上挑选出最美的部分，最后将这些来自不同模特身上的美的部分组合到一幅绘画中，最后画了海伦像。
72Epistolario di Pier Paolo Vergerio, ed. L.Smith, Rome,1934,pp.177.见Michael Baxandall, Giotto And TheOrators: Humanist observers of painting in Italy and the discovery of pictorial composition1350-1450,Oxford,1971, pp.44.
73Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450, Oxford,1971, pp.44.
74Ibid, pp.58.
75Ibid, pp.62.
76Ibid, pp.67-68.
77Ibid, pp.78.
78亚里士多德，诗学，陈中梅译注，商务印书馆，2005，第47页。
79Lorenzo Valla, Elegantiarum Libri VI, I, Praef., in Opera, Basle,1540, p.4.英译参见Michael Baxandall,Giotto And The Orators: Humanist observers of painting in Italy and the discovery of pictorial composition1350-1450,Oxford,1971, pp.117-118.
80圣经，旧约，创世纪11.
81巴别，Babel，就是“变乱”的意思。
82Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.139.
83Ibid, pp.96.
84Ibid, pp.92.
85Ibid, pp.96.
86Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991, pp.58.
87Ibid,pp.78.“乔托的《船》描绘了基督和圣彼得在水上行走的故事，此画在十四十五世纪的叙事艺术中是最著名的范本之一，可惜在十七世纪遭毁。”Martin Kemp注，第100页。
88Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450, Oxford,1971, pp.134.
92Ernst R.Curtius, European Literature and the Latin Middle Ages, W.R.Trask trans., Bollingen Press, New York,
1953. See particularly p.7and Excursus V, pp.436-438.
93John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburg
and Courtauld Institutes,Vol.20,No.1/2(Jan.-Jun.,1957), pp.26.
9495Rensselaer W.Lee,‘Ut Pictura Poesis: the humanistic theory of painting’, Art Bulletin, XXII,1940, pp.197-269.John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburg
and Courtauld Institutes,Vol.20,No.1/2(Jan.-Jun.,1957), pp.26.
96阿尔贝蒂的《论绘画》存在着拉丁语和意大利语两个版本，对于两种版本出现的先后问题存在着争议，
巴克森德尔认为Cecil Grayson对这两个版本所做的研究是最有说服力的。Grayson在‘Studi su Leon
Battista Alberti,II,Appunti sul testo della Pittura’(Rinascimento,iv,1953,54-62)中指出拉丁语版本在先。见
Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery of pictorial
composition1350-1450, Oxford,1971,note11, pp.126-7.
97Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery of
pictorial composition1350-1450,Oxford,1971, pp.126-7.
98Ibid, pp.129.
99Ibid, pp.131.
100Ibid, pp.131.
101Cicero, De Oratore I,II, translated by E.W.Sutton, the Loeb Classical Library, Harvard University Press,1967,pp.98.
102Ibid, pp.99.
103Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991,pp.65.
104Jack M.Greenstein,“On Alberti’s ‘Sign’: Vision and Composition in Quattrocento Painting”, The ArtBulletin, Vol.79,No.4(Dec.,1997), pp.669.
105Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991, pp.71.
106Ibid, pp.71.
107Ibid, pp.72.
108Ibid, pp.72.
109Ibid, pp.74.
110Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.131.
111Ibid, pp.131.
112Ibid, pp.132.
113巴克森德尔在《乔托与演说家》中引用的阿尔贝蒂的《论绘画》是一个意大利语版本，VaticanOttob.lat.1424。此段选自MS.cit.,fol.16r.巴克森德尔对这段意大利语作了英译“In a facies where the planes
115Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991, pp.71.
116Allan Langdale, Interview with Michael Baxandall, Feb.,3,1994, Berkeley, CA. pp.8.
117Donald R. Kelley, Faces of History-Hisrorical Inquiry From Herodotus to Herder, SDX Joint PublishingCompany2000, pp.239.
118Ibid, pp.244.
119R.G.Collingwood, The Idea Of History, Oxford1956, pp.113-114.
120运用到艺术上，黑格尔使用Idea（理念）主要指这些方面：1.绝对的理念正是艺术试图表现的东西：世界基本的、自我实现的本质。艺术是自我表现或实现自我的方式之一，不仅仅是我们观看它的方式之一；2.一件艺术作品本身就是一个理念，一种内容在知觉形式中实现并且与这种知觉形式完全一致，像灵魂是在躯体中实现——这是黑格尔所例举的观念（灵魂）和真实（躯体）共同组成一个理念的一个例子。在这个意义上，黑格尔倾向于把美的理念与理想(Ideal)等同起来；3.艺术或美的理念也在艺术形式，然后在特别的艺术和个别艺术作品中实现自己。在这一段内容中，黑格尔引用柏拉图（主要是Symposium和Greater Hippias中）为了忽视美的理念的实现，含蓄地是要讨论这个概念为了排除理念。Georg WilhelmFriedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet, Penguin Classics,1993,pp.25.
121Michael Podro,The Critical Historians of Art,Yale University1982, pp.17.
122Georg Wilhelm Friedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet,Penguin Classics,1993, pp.9.
123Ibid, pp.18.
124Michael Podro, The Critical Historians of Art, Yale University1982, pp.19.
125精神极其产物高于自然，并非严格地限定于精神产物之美高于自然之美。对于黑格尔而言，美并非是一种表面（肤浅的）品质，而是包括那些使得一些事物值得美学思考的因素，因此随着美的事物的“高度”而变化。
126许多自然客体，特别是动物，以一种相对独立的形式存在，如果太阳或日落是被审美地思考的话，它是被分离于一般背景而被思考的。“自由”在此的意思是“脱离于规律和法则束缚的自由”。
127在此，它包括两个观念：1.精神辨别其他事物的本质，例如，发现控制太阳系的规律以及关注和评定日落的美等等；2.精神是独立的和自我控制的，拥有诸如自创之美的特征。
128Georg Wilhelm Friedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet,Penguin Classics,1993, pp.4.
129Ibid, pp.33-34.
130Michael Podro, The Critical Historians of Art, Yale University1982, pp.19.
131Georg Wilhelm Friedrich Hegel, The Philosophy of Fine Art, translated by F.P.B.Osmaston, Vol.II, London,1920, pp.77.
132Michael Podro,The Critical Historians of Art,Yale University1982, pp.20.
133Georg Wilhelm Friedrich Hegel, The Philosophy of Fine Art, translated by F.P.B.Osmaston, Vol.II, London,1920, pp.175.
134Michael Podro,The Critical Historians of Art,Yale University1982, pp.22.
135Ibid, pp.26.
136G.W.F.Hegel, The Philosophy of History, translation by J.Sibree, Dover Publications1956, pp.63-64.
137E.H.Gombrich,“Art and Scholarship”, Meditations On A Hobby Horse And Other Essays On The TheoryOf Art, Phaidon1963, pp.108.
138E.H.Gombrich, Ideals And Idols: Essays on values in history and in art, Phaidon Oxford1979, pp.42.中译本：贡布里希，理想与偶像，上海人民美术出版社，1989年，第59页。
139R.G.Collingwood, The Idea Of History, Oxford1956, pp.118.
140E.H.Gombrich, Ideals And Idols-Essays on values in history and in art, Phaidon Oxford1979, pp.46.中译本：贡布里希，理想与偶像，上海人民美术出版社，1989年，第68页。
141W.H.Walsh, Philosophy of History: An Introduction, Harper&Row1967, pp.142.中译本：W.H.沃尔什，历史哲学导论，北京大学出版社，2008年，第140页。
142Michael Baxandall, Painting and Experience in Fifteenth Century Iitaly:A Primer In The Social History OfPictorial Style, Oxford University Press1972, pp.1.
143Georg Wilhelm Friedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet,Penguin Classics,1993, pp.30.在该书德语版中，sensuous是aus dem Sinnlichen，意思是依赖于知觉材料。sense是Sinn，意思是感觉，尤其是视觉和听觉。end是Zweck，意思是目的、目标，而非结束、终结的意思。
144Michael Baxandall, Painting and Experience in Fifteenth Century Iitaly:A Primer In The Social History OfPictorial Style, Oxford University Press1972, pp.1.
145Ibid, pp.2.
146Ibid, pp.6.
147Ibid, pp.34.
148Ibid, pp.29.
149Ibid, pp.49-51.
150Ibid, pp.56.
151Ibid, pp.87-88.
152Ibid, pp.61.
153Ibid, pp.64.
154这十六个批评术语分别是：imitatore della natura（自然的模仿者）、rilievo（明暗法）、puro（纯粹）、facilita（容易）、prospectivo（透视学家）、gratioso（优雅）、ornato（修饰）、varicta（多样性）、compositione
（构图）、colorire（设色）、disegnatore（设计）、amatore delle difficulta（繁难爱好者）、scorci（短缩法）、prompto（迅速）、vezzoso（轻快温和）、devoto（虔诚）。参见Michael Baxandall, Painting and Experiencein Fifteenth Century Iitaly:A Primer In The Social History Of Pictorial Style, Oxford University Press,1972,
155Michael Baxandall, Painting and Experience in Fifteenth Century Iitaly, Oxford University Press1972,pp.151-152.
156Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.453-465.
157Michael Baxandall, Patterns of Intention:On the Historical Explanation of Pictures, Yale University Press,1985.
158Kurt W. Forster,‘Critical History of Art, or Transfiguration of Values?’, New Literary History, Vol.3, No.3,Literary and Art History (Spring,1972), pp.459-470.
159James S. Ackerman,‘Toward a New Social Theory of Art’, New Literary History, Vol.4, No.2, OnInterpretation: II,(Winter,1973), pp.315-330.
160David Rosand,‘Art History and Criticism: The Past as Present’, New Literary History, Vol.5, No.3, Historyand Criticism: I,(Spring,1974), pp.435-445.
161Cf.Rudolf Arnheim, Art and Visual Perception, Berkeley and Los Angeles,1954.和E.H.Gombrich, Art andIllusion, New York,1960.
162Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.454.
163Ibid, pp.455.
164Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press1985, pp.1.
165Ibid, pp.2.
166Ibid, pp.3.
167Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.459-460.
168Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press1985,pp.5.
169Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.457.
170巴克森德尔在《艺术史的语言》和《意图的模式》中分别用两张图表来表示间接性语词与图画、艺术家和观者之间的关系，参见Michael Baxandall,‘The Language ofArt History’, New Literary History, Vol.10, No.
3, Anniversary Issue: I.(Spring,1979), pp.458.和Michael Baxandall, Patterns of Intention: On the HistoricalExplanation of Pictures, Yale University Press1985,pp.6.本文所列图表是这两张图表的结合体。
171Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press1985,pp.6.
172Ibid, pp.8-9.
173Ibid, pp.75.
174Ibid, pp.75.
175Ibid, pp.81.
176Ibid, pp.81.
177Allan Langdale, Interview with Michael Baxandall, February3rd,1994, Berkeley, CA. pp.8.
178Marshall H.Segall, Donald T. Campbell, Melville J. Herskovits, The Influence of Culture On Visual Perception,Bobbs-Merrill Company,1966,pp.4-5.
179Plato, Republic,Works of Plato Vol.3, translated by Benjamin Jowett,柏拉图著作集3（英文本），广西师范大学出版社，2008，230-233页。
180John Locke, An Essay Concerning Human Understanding, Pennsylvania State University,1999, pp.122.
181Geroge Berkeley, Three Dialogues between Hylas and Philonous, The works of George Berkeley Vol.1,London:1820, pp.107.
182S.E.Asch, Social Psychology, Englewood Cliffs, N.J.:Prentice-Hall,1952,pp.58.
183Marshall H.Segall, Donald T. Campbell, Melville J. Herskovits, The Influence of Culture On Visual Perception,Bobbs-Merrill Company,1966,pp.6.
184参见W.G.Sumner, Folkways, Boston:Ginn,1906.和M.J.Herskovits, Man and his works, New York:Knopf,
189M.Sherif, The Psychology of Social Norms, New York,1936, pp.92-106.
190A.I.Hallowell,‘Cultural Factors in the Structuralization of Perception’, in Social Psychology at the Crossroads,New York,1951, pp.166-167.
191Melville J.Herskovits, Cultural Anthropology: An Abridged Revision of Man and His Works, New York: AlfredA.Knopf,1960,pp.364.
192Ibid,pp365.
193Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450, Oxford,1971, pp.viii.
194Ibid, pp.8.
195Roger Brown, Words and Things, the Free Press,Glencoe,Illinois,1958,pp.238.
196V.R.Seroshevskii, Iakuti, St.Petersburg:Royal Geographical Society,1986.
197Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.9.
198Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955, pp.155.
199Wilhelm von Humboldt, Peter Heath tran.,On Language: On the Diversity of Human Language Constructionand its Influence on the Mental Development of the Human Species, Cambridge University Press1999, pp.58.
200Ibid,pp.54.
201Ibid,pp.55.
202Ibid,pp.59.
203Ibid,pp.60.
204Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955, pp.281.
205恩斯特·卡西尔，人论，甘阳译，上海译文出版社，2004年，第185页。
206Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955,pp.286-287.
207Ibid, pp.288.
208Ibid, pp.292.
209恩斯特·卡西尔，人论，甘阳译，上海译文出版社，2004年，第186-187页。
210Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955,pp.300-302.
211Benjamin Lee Whorf, The Relation of Habitual Thought And Behavio（r1939）, Language, thought, and reality:selected writings,The Massachusetts Institute of Technology,1956, pp.135.
212Ibid, pp.139.
213Ibid, pp.138.
214SAE是沃尔夫为了论述方便创造的一个概念，全称是Standard Average European，用来表示英语、法语、德语等西欧语言。沃尔夫认为通过这些语言对经验世界进行分类，产生的诸如“时间”、“空间”、“本质”、“物质”等概念之间的差异甚小。
215Benjamin Lee Whorf, The Relation of Habitual Thought And Behavio（r1939）, Language, thought, and reality:selected writings,The Massachusetts Institute of Technology,1956, pp.139-140.
216Ibid, pp.140-142.
217Ibid, pp.142-143.
218Ibid, pp.156-157.
219Ibid, pp.158.
220Edward Sapir, The Status of Linguistics as a Science, Selected Writings of Edward Sapir in Language,Cultureand Personality, Edited by David G. Mandelbaum, University of California Press,1963, pp.162.
1. Ackerman, James S.‘Toward a New Social Theory of Art’, New Literary History,Vol.4, No.2, On Interpretation: II,(Winter,1973).
2. Alberti, Leon Battista. On Painting, translated by Cecil Grayson, noted by MartinKemp. Penguin,1991.
3. Antal, F.‘Remarks on the Method of Art History: I’, The Burlington Magazine,Vol.91, No.551,(Feb.,1949).
4. Aristotle. Rhetoric, The Complete Works of Aristotle Vol.2. Princeton UniversityPress,1984.
5. Asch, S.E. Social Psychology, Englewood Cliffs, N.J.:Prentice-Hall,1952.
6. Baron, Hans. The Crisis of the Early Italian Renaissance: Civic Humanism andRepublican Liberty in an Age of Classicism and Tyranny. Princeton,1955.
7. Baxandall, Michael. Giotto and The Orators: Humanist observers of painting inItaly and the discovery of pictorial composition1350-1450. Oxford,1971.
8. Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A PrimerIn the Social History of Pictorial Style. Oxford,1972.
9. Baxandall, Michael. Pattens of Intention: On the Historical Explanation ofPictures. Yale,1985.
10. Baxandall, Michael.‘The Language of Art History’. New Literary History10, n.3(Spring1979). pp.453-465.
11. Baxandall, Michael.‘Art, Society, and the Bouguer Principle’. Representations12(Fall1985). pp.32-43.
12. Baxandall, Michael. Episodes: A memorybook. Frances Lincoln,2010.
13. Berkeley, Geroge.‘Three Dialogues between Hylas and Philonous’. The works ofGeorge Berkeley Vol.1. London,1820.
14. Blunt, Anthony. Artistic Theory In Italy,1450-1600. Oxford,1962.
15. Brown, Roger. Words and Things. the Free Press,Glencoe, Illinois,1958.
16. Bruni, Leonardo. Epistolarum libri VIII,ed.L.Mehus,ii, Florence,1731.
17. Burckhardt, Jacob. The Civilization of The Renaissance In Italy. Phaidon,1945.
18. Burke, Jill. Changing Patrons: Social Identity and The Visual Arts in RenaissanceFlorence. Pennsylvania State University,2004.
19. Campana, Augusto.‘The Origin of the Word ‘Humanist’’, Journal of the Warburgand Courtauld Institutes, Vol.9,1946.
20. Cassirer, Ernst.‘The Influence of Language upon the Development of ScientificThought’, The Journal of Philosophy, Vol.39, No.12,(Jun.4,1942).
21. Cassirer, Ernst. The Philosophy of Symbolic Forms, Volume1: Language. YaleUniversity Press,1955.
22. Cennini,Cennino. Il Libro del Arte. D.V.Thompson, ed., New Haven,1932.
23. Cicero, De Oratore I,II, translated by E.W.Sutton. the Loeb Classical Library,Harvard University Press,1967.
24. Collingwood, R.G.. The Idea Of History. Oxford,1956.
25. Curtius, Ernst R. European Literature and the Latin Middle Ages. W.R.Trask trans.New York: Bollingen Press,1953.
26. Elias, Norbert. The Civilizing Process, E.Jephcott, trans. New York:Urizen Books,1978.
27. Ferguson, Wallace K. The Renaissance In Historical Thought: Five Centuries ofInterpretation. Houghton Mifflin Company,1948.
28. Forster, Kurt W.‘Critical History of Art, or Transfiguration of Values?’, NewLiterary History, Vol.3, No.3, Literary and Art History,(Spring,1972).
29. Geertz, Clifford.‘Art as a Cultural System’, MLN, Vol.91, No.6, ComparativeLiterature,(Dec.,1976).
30. Gersh, Stephen and Roest, Bert. Medieval and Renaissance Humanism: Rhetoric,Representation and Reform. Brill,2003.
31. Gombrich, E.H. Art and Illusion: A study in the psychology of pictorialrepresentation. Phaidon Press,1987.
32. Gombrich, E.H.‘Art and Scholarship’, Meditations On A Hobby Horse And OtherEssays On The Theory Of Art. Phaidon,1963.
33. Gombrich, E.H. Ideals And Idols: Essays on values in history and in art. Phaidon,1979.
34. Gombrich, E.H.“Botticelli’s Mythologies: A Study in the Neo-PlatonicSymbolism of his Circle”, Gombrich on The Renaissance, Vol.2. Phaidon,1985.
35. Gray, Hanna H.‘Renaissance Humanism: The Pursuit of Eloquence’, Journal ofthe History of Ideas,Vol.24No.4,(Oct.-Dec.,1963).
36. Gregory, R.L. Eye and Brain: the psychology of seeing. World University Library,
1966.
37. Hallowell, A.I.‘Cultural Factors in the Structuralization of Perception’, SocialPsychology at the Crossroads, New York,1951.
38. Harris,Jonathan. The New Art History: A critical introduction. Routledge,2001.
39. Hegel, Georg Wilhelm Friedrich. The Philosophy of Fine Art, translated byF.P.B.Osmaston, Vol.II. London,1920.
40. Hegel, Georg Wilhelm Friedrich. The Philosophy of History, translation byJ.Sibree. Dover Publications,1956.
41. Hegel, Georg Wilhelm Friedrich. Introductory Lectures on Aesthetics, translatedby Bernard Bosanquet. Penguin Classics,1993.
42. Herskovits, Melville J. Man and his works, New York:Knopf,1948.
43. Herskovits, Melville J. Cultural Anthropology: An Abridged Revision of Man andHis Works. Alfred A.Knopf,1960.
44. Horace. T.S.Dorsch. On The Art Of Poetry. Penguin Books Ltd,1965.
45. Huizinga, Johan. Men and Ideas: History, the Middle Ages, the Renaissance.Princeton University Press,1984.
46. Humboldt, Wilhelm von, Peter Heath tran. On Language: On the Diversity ofHuman Language Construction and its Influence on the Mental Development ofthe Human Species. Cambridge University Press,1999.
47. Jaeger,W. Humanism and Theology. Milwaukee,1943.
48. Kelley, Donald R. Faces of History-Hisrorical Inquiry From Herodotus to Herder.SDX Joint Publishing Company,2000.
49. Klineberg,O. The human dimension in international relations, New York: Holt,Rinehart and Winston,1964.
50. Kristeller, Paul Oskar.‘Florentine Platonism and Its Relations with Humanismand Scholasticism’, Church History, Vol.8,No.3,(Sep.,1939).
51. Kristeller, Paul Oskar. Renaissance Thought: The Classic, Scholastic, andHumanistic Strains. Harper&Row,1961.
52. Langdale, Allan. Interview with Michael Baxandall, Berkeley, CA, Feb.,3,1994.
53. Langdale, Allan.‘Aspects of the Critical Reception and Intellectual History ofBaxandall's Concept of the Period Eye’, Art History, Vol.21, No.4, December1998, pp.479-497.
54. Langdale, Allan.‘Linguistic Theories and Intellectual History in MichaelBaxandall's Giotto and Orators’, Journal of Art Historiography, No.1, December
2009.
55. Lee, Rensselaer W.‘Ut Pictura Poesis: the humanistic theory of painting’, ArtBulletin. XXII,1940.
56. Lessing, Gotthold Ephraim. Laokoon and How The Ancients Represented Death.London G.Bell and Sons,LTD.,1914.
57. Locke, John. An Essay concerning Human Understanding. Penguin,1997.
58. Marshall H.Segall, Donald T.Campbell, Melville J.Herskovits. The Influence ofCulture On Visual Perception. Bobbs-Merrill Company,1966.
59. Nauert,Charles G. Humanism and the Culture of Renaissance Europe. CambridgeUniversity Press,1995.
60. New Dictionary of The History of Ideas. THOMSON,2005.
61. Panofsky, Erwin. Renaissance and Renascences in Western Art. Almqvist&Wiksells,1960.
62. Panofsky, Erwin. Gothic Architecture and Scholasticism. Meridian Books,1985.
63. Podro, Michael. The Critical Historians of Art. Yale University,1982.
64. Plato, Republic, Works of Plato Vol.3, translated by Benjamin Jowett. GuangxiNormal University Press，2008.
65. Randolph, Adrian W.B.‘Gendering the Period Eye: Deschi da Parto andRenaissance Visual Culture’, Art History, Vol.27, No.4, September2004.pp.538-562.
66. Rifkin, Adrian. About Michael Baxandall. Blackwell,1999.
67. Rosand, David.‘Art History and Criticism: The Past as Present’, New LiteraryHistory, Vol.5, No.3, History and Criticism: I,(Spring,1974).
68. Sandys, John Edwin. A History of Classical Scholarship: From The Sixth CenturyB.C. To The End Of The Middle Ages. Cambridge University Press,1903.
69. Sapir, Edward. The Status of Linguistics as a Science, Selected Writings of EdwardSapir in Language,Culture and Personality. Edited by David G. Mandelbaum,University of California Press,1963.
70. Sedlmayr, Hans. Art in Crisis: the lost center. Brian Battershaw, trans., London:Hollis and Carter,1957.
71. Sherif, M. The Psychology of Social Norms, New York,1936.
72. Spencer, John R.‘Ut Rhetorica Pictura: A Study in Quattrocento Theory ofPainting’, Journal of the Warburg and Courtauld Institutes, Vol.20, No.1/2,(Jan.-Jun.,1957).
73. Sumner, W.G. Folkways, Boston:Ginn,1906.
74. Tanner, Jeremy.‘Michael Baxandall and the Sociological Interpretation of Art’,Cultural Sociology, Vol.4, No.2, July2010. pp.231-256.
75. Valla, Lorenzo. Elegantiarum Libri VI, I, Praef., in Opera, Basle,1540.
76. Walsh, W.H. Philosophy of History: An Introduction. Harper&Row,1967.
77. Whorf, Benjamin Lee.‘The Relation of Habitual Thought And Behavior（1939）’,Language, thought, and reality:selected writings. The Massachusetts Institute ofTechnology,1956.
78. Wright, D. R. Edward.‘Alberti's De Pictura:Its Literary Structure and Purpose’,Journal of the Warburg and Courtauld Institutes, Vol.47,(1984).
1.德沃夏克，《作为精神史的美术史》，陈平译，北京大学出版社，2010年
2.恩斯特·卡西尔，《人论》，甘阳译，上海译文出版社，2004年
3.范景中，《美术史的形状：从瓦萨里到20世纪20年代》，中国美术学院出版社，2003年
4.贡布里希，《理想与偶像——价值在历史和艺术中的地位》，范景中、曹意强、周书田译，上海人民美术出版社，1989年
5.柯林伍德，《历史的观念》，何兆武、张文杰译，商务印书馆，2007年
6.威廉·冯·洪堡特，《论人类语言结构的差异及其对人类精神发展的影响》，姚小平译，商务印书馆，2008年
7.亚里士多德，《诗学》，陈中梅译注，商务印书馆，2005年
8.约翰·哥特弗雷德·赫尔德，《反纯粹理性——论宗教、语言和历史文选》，张晓梅译，商务印书馆，2010年
9. W.H.沃尔什，《历史哲学导论》，何兆武、张文杰译，北京大学出版社，2008年
2范景中，美术史的形状：从瓦萨里到20世纪20年代，杭州：中国美术学院出版社，2003年，第207页。
3F.Antal,‘Remarks on the Method of Art History: I’, The Burlington Magazine, Vol.91, No.551,(Feb.,1949),
6M.Meiss,‘Italian Primitives at Konopiste’, Art Bulletin, xxviii,1946.
7E.H.Gombrich,“Botticelli’s Mythologies: A Study in the Neo-Platonic Symbolism of his Circle”,Gombrich on The Renaissance, Vol.2, Phaidon1985, pp.31.
8Hans Sedlmayr, Art in Crisis: the lost center, Brian Battershaw, trans., London: Hollis and Carter,1957.该书最初是以德文出版，Verlust der Mitte: die bildende Kunst des19. und20. Jahrhunderts als Symptom undSymbol der Zeit, Salzburg: O. Müller,1948.后经Brian Battershaw翻译成英文，于1957年发行英文版。
9Allan Langdale, Interview with Michael Baxandall, Feb.3,1994, Berkeley,CA, pp.7.
10Ernst Cassirer,‘The Influence of Language upon the Development of Scientific Thought’, The Journal ofPhilosophy, Vol.39, No.12,(Jun.4,1942),pp.309－327.
11Jonathan Harris, The New Art History: A critical introduction, Routledge2001, pp.42-43.
13亚里士多德，陈中梅译注，诗学，北京:商务印书馆，1996年，第27页。
14同上，第47页.
15Horace. T.S.Dorsch English Translation. On The Art Of Poetry. Penguin Books Ltd.1965.[古罗马]贺拉斯，郝久新译，北京:九州岛出版社，2007年，第129页。
16亚里士多德，陈中梅译注，诗学，北京:商务印书馆，1996年，第177页。
17同上，第38页。
18同上，第113页。
19Horace. T.S.Dorsch English Translation. On The Art Of Poetry. Penguin Books Ltd.1965.[古罗马]贺拉斯，郝久新译，北京:九州岛出版社，2007年，第139页。
20Gotthold Ephraim Lessing, Laokoon and How The Ancients Represented Death, London G.Bell and Sons,LTD.1914, pp.129.
21Gotthold Ephraim Lessing, Laokoon and How The Ancients Represented Death, London G.Bell and Sons,LTD.1914, pp.130-131.
22Ibid, pp.98.
23Ibid, pp.98.
24Ibid, pp.131.
25德沃夏克，作为精神史的美术史，陈平译，北京大学出版社，2010年，第80页。
26同上，第82页。
27同上，第81页。
28同上，第85页。
29同上，第86页。
30Ernst R.Curtius, European Literature and the Latin Middle Ages, W.R.Trask trans., Bollingen Press, NewYork,1953, p.7, pp.436-438.
31“Amant enim……”Aeneas Silvius Piccolomini, Letters, Rudolph Wolkan, ed., as Der Briefwechsel desEneas Silvius Piccolomini, Vienna,1918,II,100.note.
32John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburgand Courtauld Institutes, Vol.20, No.1/2(Jan.-Jun.,1957), pp.26-27.
33Ibid, pp.33.
34Ibid, pp.39.
35Ibid, pp.31.
36Ibid, pp.40.
37Cicero, De inventione, II,I,1-3.
38Cicero, De oratore, II,xxxv,147.“Et sic, cum ad inveniendum in dicendo tria sint; acumen, deinde ratio, quamlicet, si volumus, appellemus artem, tertium diligentia, non possum equidem non ingenio primas concedere,…”
39John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburgand Courtauld Institutes,Vol.20, No.1/2(Jan.-Jun.,1957), pp.36.
40Ibid, pp.35.
41Ibid, pp.41-43.
42Ibid, pp.37.
43Cicero, De oratore, II, xxviii,117-151.
44Norbert Elias, The Civilizing Process, E.Jephcott, trans., New York:Urizen Books,1978.
45二十世纪六十年代，巴克森德尔在《瓦尔堡和考陶尔德研究院期刊》上发表了一系列文章：MichaelBaxandall and E. H. Gombrich,‘Beroaldus on Francia’, Journal of the Warburg and Courtauld Institutes,25,1962,pp.113-115; Michael Baxandall,‘A Dialogue on art from the Court of Leonello D’Este: Angelo Decembrio’s DePolitia Litteratia pars LXVIII’, Journal of the Warburg and Courtauld Institutes,26,1963, pp.304-326; MichaelBaxandall,‘Bartholomaeus Facius on Painting’, Journal of the Warburg and Courtauld Institutes,27,1964,pp.90-107; Michael Baxandall,‘Guarino, Pisanello and Manuel Chrysoloras’, Journal of the Warburg andCourtauld Institutes,28,1965, pp.183-204.
46Allan Langdale, Interview with Michael Baxandall, Feb.,3,1994, Berkeley,CA, pp.6.
47Augusto Campana,“The Origin of the Word ‘Humanist’”, Journal of the Warburg and CourtauldInstitutes, Vol.9,(1946), PP.60-61.
48Ibid, PP.66-67.
49W.Jaeger, Humanism and Theology, Milwaukee,1943,20ff,72ff; R.Pfeiffer, Humanitas Erasmiana,Leipzig-Berlin,1931.
50New Dictionary of The History of Ideas,THOMSON,2005,Vol.3, pp.1029.
51Paul Oskar Kristeller,‘Florentine Platonism and Its Relations with Humanism and Scholasticism’, ChurchHistory, Vol.8,No.3(Sep.,1939), pp.202.
52Paul Oskar Kristeller, Renaissance Thought: The Classic,Scholastic,and Humanistic Strains,Harper&Row,1961,pp.18.
53Paul Oskar Kristeller, Renaissance Thought: The Classic,Scholastic,and Humanistic Strains, Harper&Row,1961,pp.6-7.
54Paul Oskar Kristeller,‘Florentine Platonism and Its Relations with Humanism and Scholasticism’, ChurchHistory, Vol.8,No.3(Sep.,1939), pp.201.
55John R.Spencer,‘Ut Rhetorica Pictura:A Study in Quattrocento Theory of Painting’, Journal of the Warburgand Courtauld Institutes, Vol.20,No.1/2,(Jan.-Jun.,1957), pp.28-29.
56Leonardo Bruni, Epistolarum libri VIII,ed.L.Mehus,ii, Florence,1731,62-8(vi.10).
57Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.6-7.
58Ibid, pp.8.
59Ibid, pp.9-11.
60Ibid, pp.11-12.
61Ibid, pp.14.
62John Edwin Sandys, A History of Classical Scholarship–From The Sixth Century B.C. To The End Of The
6M3iddle Ages, Cambridge University Press,1903, pp.78.Aristotle, Rhetoric, The Complete Works of Aristotle Vol.2, Princeton University Press,1984, pp.119.
64Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery of
pictorial composition1350-1450,Oxford,1971, pp.20.
65Ibid, pp.20-21.
66Ibid, pp.29.
67Alberti, De Pictura,Vatican Library, MS.Ottob.lat.1424, fol.22r-v.
68Alberti, Della pittura, ed.L.Mallè, Florence,1950, pp.100-1.
69西塞罗的《论演说家》的第22卷73部分，里面讲到的画家是阿佩莱斯而非宙克西斯。
70Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.34.
71克罗顿人通过公共法令将少女聚集在一个地方，让画家宙克西斯任意选择一位作为模特。然而画家选了五位少女，画家认为美的各种要素无法在同一位模特身上找到。画家从不同模特身上挑选出最美的部分，最后将这些来自不同模特身上的美的部分组合到一幅绘画中，最后画了海伦像。
72Epistolario di Pier Paolo Vergerio, ed. L.Smith, Rome,1934,pp.177.见Michael Baxandall, Giotto And TheOrators: Humanist observers of painting in Italy and the discovery of pictorial composition1350-1450,Oxford,1971, pp.44.
73Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450, Oxford,1971, pp.44.
74Ibid, pp.58.
75Ibid, pp.62.
76Ibid, pp.67-68.
77Ibid, pp.78.
78亚里士多德，诗学，陈中梅译注，商务印书馆，2005，第47页。
79Lorenzo Valla, Elegantiarum Libri VI, I, Praef., in Opera, Basle,1540, p.4.英译参见Michael Baxandall,Giotto And The Orators: Humanist observers of painting in Italy and the discovery of pictorial composition1350-1450,Oxford,1971, pp.117-118.
80圣经，旧约，创世纪11.
81巴别，Babel，就是“变乱”的意思。
82Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.139.
83Ibid, pp.96.
84Ibid, pp.92.
85Ibid, pp.96.
86Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991, pp.58.
87Ibid,pp.78.“乔托的《船》描绘了基督和圣彼得在水上行走的故事，此画在十四十五世纪的叙事艺术中是最著名的范本之一，可惜在十七世纪遭毁。”Martin Kemp注，第100页。
88Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450, Oxford,1971, pp.134.
92Ernst R.Curtius, European Literature and the Latin Middle Ages, W.R.Trask trans., Bollingen Press, New York,
1953. See particularly p.7and Excursus V, pp.436-438.
93John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburg
and Courtauld Institutes,Vol.20,No.1/2(Jan.-Jun.,1957), pp.26.
9495Rensselaer W.Lee,‘Ut Pictura Poesis: the humanistic theory of painting’, Art Bulletin, XXII,1940, pp.197-269.John R.Spencer,‘Ut Rhetorica Pictura: A Study in Quattrocento Theory of Painting’, Journal of the Warburg
and Courtauld Institutes,Vol.20,No.1/2(Jan.-Jun.,1957), pp.26.
96阿尔贝蒂的《论绘画》存在着拉丁语和意大利语两个版本，对于两种版本出现的先后问题存在着争议，
巴克森德尔认为Cecil Grayson对这两个版本所做的研究是最有说服力的。Grayson在‘Studi su Leon
Battista Alberti,II,Appunti sul testo della Pittura’(Rinascimento,iv,1953,54-62)中指出拉丁语版本在先。见
Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery of pictorial
composition1350-1450, Oxford,1971,note11, pp.126-7.
97Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery of
pictorial composition1350-1450,Oxford,1971, pp.126-7.
98Ibid, pp.129.
99Ibid, pp.131.
100Ibid, pp.131.
101Cicero, De Oratore I,II, translated by E.W.Sutton, the Loeb Classical Library, Harvard University Press,1967,pp.98.
102Ibid, pp.99.
103Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991,pp.65.
104Jack M.Greenstein,“On Alberti’s ‘Sign’: Vision and Composition in Quattrocento Painting”, The ArtBulletin, Vol.79,No.4(Dec.,1997), pp.669.
105Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991, pp.71.
106Ibid, pp.71.
107Ibid, pp.72.
108Ibid, pp.72.
109Ibid, pp.74.
110Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.131.
111Ibid, pp.131.
112Ibid, pp.132.
113巴克森德尔在《乔托与演说家》中引用的阿尔贝蒂的《论绘画》是一个意大利语版本，VaticanOttob.lat.1424。此段选自MS.cit.,fol.16r.巴克森德尔对这段意大利语作了英译“In a facies where the planes
115Leon Battista Alberti, On Painting, translated by Cecil Grayson, noted by Martin Kemp,Penguin,1991, pp.71.
116Allan Langdale, Interview with Michael Baxandall, Feb.,3,1994, Berkeley, CA. pp.8.
117Donald R. Kelley, Faces of History-Hisrorical Inquiry From Herodotus to Herder, SDX Joint PublishingCompany2000, pp.239.
118Ibid, pp.244.
119R.G.Collingwood, The Idea Of History, Oxford1956, pp.113-114.
120运用到艺术上，黑格尔使用Idea（理念）主要指这些方面：1.绝对的理念正是艺术试图表现的东西：世界基本的、自我实现的本质。艺术是自我表现或实现自我的方式之一，不仅仅是我们观看它的方式之一；2.一件艺术作品本身就是一个理念，一种内容在知觉形式中实现并且与这种知觉形式完全一致，像灵魂是在躯体中实现——这是黑格尔所例举的观念（灵魂）和真实（躯体）共同组成一个理念的一个例子。在这个意义上，黑格尔倾向于把美的理念与理想(Ideal)等同起来；3.艺术或美的理念也在艺术形式，然后在特别的艺术和个别艺术作品中实现自己。在这一段内容中，黑格尔引用柏拉图（主要是Symposium和Greater Hippias中）为了忽视美的理念的实现，含蓄地是要讨论这个概念为了排除理念。Georg WilhelmFriedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet, Penguin Classics,1993,pp.25.
121Michael Podro,The Critical Historians of Art,Yale University1982, pp.17.
122Georg Wilhelm Friedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet,Penguin Classics,1993, pp.9.
123Ibid, pp.18.
124Michael Podro, The Critical Historians of Art, Yale University1982, pp.19.
125精神极其产物高于自然，并非严格地限定于精神产物之美高于自然之美。对于黑格尔而言，美并非是一种表面（肤浅的）品质，而是包括那些使得一些事物值得美学思考的因素，因此随着美的事物的“高度”而变化。
126许多自然客体，特别是动物，以一种相对独立的形式存在，如果太阳或日落是被审美地思考的话，它是被分离于一般背景而被思考的。“自由”在此的意思是“脱离于规律和法则束缚的自由”。
127在此，它包括两个观念：1.精神辨别其他事物的本质，例如，发现控制太阳系的规律以及关注和评定日落的美等等；2.精神是独立的和自我控制的，拥有诸如自创之美的特征。
128Georg Wilhelm Friedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet,Penguin Classics,1993, pp.4.
129Ibid, pp.33-34.
130Michael Podro, The Critical Historians of Art, Yale University1982, pp.19.
131Georg Wilhelm Friedrich Hegel, The Philosophy of Fine Art, translated by F.P.B.Osmaston, Vol.II, London,1920, pp.77.
132Michael Podro,The Critical Historians of Art,Yale University1982, pp.20.
133Georg Wilhelm Friedrich Hegel, The Philosophy of Fine Art, translated by F.P.B.Osmaston, Vol.II, London,1920, pp.175.
134Michael Podro,The Critical Historians of Art,Yale University1982, pp.22.
135Ibid, pp.26.
136G.W.F.Hegel, The Philosophy of History, translation by J.Sibree, Dover Publications1956, pp.63-64.
137E.H.Gombrich,“Art and Scholarship”, Meditations On A Hobby Horse And Other Essays On The TheoryOf Art, Phaidon1963, pp.108.
138E.H.Gombrich, Ideals And Idols: Essays on values in history and in art, Phaidon Oxford1979, pp.42.中译本：贡布里希，理想与偶像，上海人民美术出版社，1989年，第59页。
139R.G.Collingwood, The Idea Of History, Oxford1956, pp.118.
140E.H.Gombrich, Ideals And Idols-Essays on values in history and in art, Phaidon Oxford1979, pp.46.中译本：贡布里希，理想与偶像，上海人民美术出版社，1989年，第68页。
141W.H.Walsh, Philosophy of History: An Introduction, Harper&Row1967, pp.142.中译本：W.H.沃尔什，历史哲学导论，北京大学出版社，2008年，第140页。
142Michael Baxandall, Painting and Experience in Fifteenth Century Iitaly:A Primer In The Social History OfPictorial Style, Oxford University Press1972, pp.1.
143Georg Wilhelm Friedrich Hegel, Introductory Lectures on Aesthetics, translated by Bernard Bosanquet,Penguin Classics,1993, pp.30.在该书德语版中，sensuous是aus dem Sinnlichen，意思是依赖于知觉材料。sense是Sinn，意思是感觉，尤其是视觉和听觉。end是Zweck，意思是目的、目标，而非结束、终结的意思。
144Michael Baxandall, Painting and Experience in Fifteenth Century Iitaly:A Primer In The Social History OfPictorial Style, Oxford University Press1972, pp.1.
145Ibid, pp.2.
146Ibid, pp.6.
147Ibid, pp.34.
148Ibid, pp.29.
149Ibid, pp.49-51.
150Ibid, pp.56.
151Ibid, pp.87-88.
152Ibid, pp.61.
153Ibid, pp.64.
154这十六个批评术语分别是：imitatore della natura（自然的模仿者）、rilievo（明暗法）、puro（纯粹）、facilita（容易）、prospectivo（透视学家）、gratioso（优雅）、ornato（修饰）、varicta（多样性）、compositione
（构图）、colorire（设色）、disegnatore（设计）、amatore delle difficulta（繁难爱好者）、scorci（短缩法）、prompto（迅速）、vezzoso（轻快温和）、devoto（虔诚）。参见Michael Baxandall, Painting and Experiencein Fifteenth Century Iitaly:A Primer In The Social History Of Pictorial Style, Oxford University Press,1972,
155Michael Baxandall, Painting and Experience in Fifteenth Century Iitaly, Oxford University Press1972,pp.151-152.
156Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.453-465.
157Michael Baxandall, Patterns of Intention:On the Historical Explanation of Pictures, Yale University Press,1985.
158Kurt W. Forster,‘Critical History of Art, or Transfiguration of Values?’, New Literary History, Vol.3, No.3,Literary and Art History (Spring,1972), pp.459-470.
159James S. Ackerman,‘Toward a New Social Theory of Art’, New Literary History, Vol.4, No.2, OnInterpretation: II,(Winter,1973), pp.315-330.
160David Rosand,‘Art History and Criticism: The Past as Present’, New Literary History, Vol.5, No.3, Historyand Criticism: I,(Spring,1974), pp.435-445.
161Cf.Rudolf Arnheim, Art and Visual Perception, Berkeley and Los Angeles,1954.和E.H.Gombrich, Art andIllusion, New York,1960.
162Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.454.
163Ibid, pp.455.
164Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press1985, pp.1.
165Ibid, pp.2.
166Ibid, pp.3.
167Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.459-460.
168Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press1985,pp.5.
169Michael Baxandall,‘The Language of Art History’, New Literary History, Vol.10, No.3, Anniversary Issue: I.
(Spring,1979), pp.457.
170巴克森德尔在《艺术史的语言》和《意图的模式》中分别用两张图表来表示间接性语词与图画、艺术家和观者之间的关系，参见Michael Baxandall,‘The Language ofArt History’, New Literary History, Vol.10, No.
3, Anniversary Issue: I.(Spring,1979), pp.458.和Michael Baxandall, Patterns of Intention: On the HistoricalExplanation of Pictures, Yale University Press1985,pp.6.本文所列图表是这两张图表的结合体。
171Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures, Yale University Press1985,pp.6.
172Ibid, pp.8-9.
173Ibid, pp.75.
174Ibid, pp.75.
175Ibid, pp.81.
176Ibid, pp.81.
177Allan Langdale, Interview with Michael Baxandall, February3rd,1994, Berkeley, CA. pp.8.
178Marshall H.Segall, Donald T. Campbell, Melville J. Herskovits, The Influence of Culture On Visual Perception,Bobbs-Merrill Company,1966,pp.4-5.
179Plato, Republic,Works of Plato Vol.3, translated by Benjamin Jowett,柏拉图著作集3（英文本），广西师范大学出版社，2008，230-233页。
180John Locke, An Essay Concerning Human Understanding, Pennsylvania State University,1999, pp.122.
181Geroge Berkeley, Three Dialogues between Hylas and Philonous, The works of George Berkeley Vol.1,London:1820, pp.107.
182S.E.Asch, Social Psychology, Englewood Cliffs, N.J.:Prentice-Hall,1952,pp.58.
183Marshall H.Segall, Donald T. Campbell, Melville J. Herskovits, The Influence of Culture On Visual Perception,Bobbs-Merrill Company,1966,pp.6.
184参见W.G.Sumner, Folkways, Boston:Ginn,1906.和M.J.Herskovits, Man and his works, New York:Knopf,
189M.Sherif, The Psychology of Social Norms, New York,1936, pp.92-106.
190A.I.Hallowell,‘Cultural Factors in the Structuralization of Perception’, in Social Psychology at the Crossroads,New York,1951, pp.166-167.
191Melville J.Herskovits, Cultural Anthropology: An Abridged Revision of Man and His Works, New York: AlfredA.Knopf,1960,pp.364.
192Ibid,pp365.
193Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450, Oxford,1971, pp.viii.
194Ibid, pp.8.
195Roger Brown, Words and Things, the Free Press,Glencoe,Illinois,1958,pp.238.
196V.R.Seroshevskii, Iakuti, St.Petersburg:Royal Geographical Society,1986.
197Michael Baxandall, Giotto And The Orators: Humanist observers of painting in Italy and the discovery ofpictorial composition1350-1450,Oxford,1971, pp.9.
198Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955, pp.155.
199Wilhelm von Humboldt, Peter Heath tran.,On Language: On the Diversity of Human Language Constructionand its Influence on the Mental Development of the Human Species, Cambridge University Press1999, pp.58.
200Ibid,pp.54.
201Ibid,pp.55.
202Ibid,pp.59.
203Ibid,pp.60.
204Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955, pp.281.
205恩斯特·卡西尔，人论，甘阳译，上海译文出版社，2004年，第185页。
206Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955,pp.286-287.
207Ibid, pp.288.
208Ibid, pp.292.
209恩斯特·卡西尔，人论，甘阳译，上海译文出版社，2004年，第186-187页。
210Ernst Cassirer, The Philosophy of Symbolic Forms, Volume1: Language, Yale University Press,1955,pp.300-302.
211Benjamin Lee Whorf, The Relation of Habitual Thought And Behavio（r1939）, Language, thought, and reality:selected writings,The Massachusetts Institute of Technology,1956, pp.135.
212Ibid, pp.139.
213Ibid, pp.138.
214SAE是沃尔夫为了论述方便创造的一个概念，全称是Standard Average European，用来表示英语、法语、德语等西欧语言。沃尔夫认为通过这些语言对经验世界进行分类，产生的诸如“时间”、“空间”、“本质”、“物质”等概念之间的差异甚小。
215Benjamin Lee Whorf, The Relation of Habitual Thought And Behavio（r1939）, Language, thought, and reality:selected writings,The Massachusetts Institute of Technology,1956, pp.139-140.
216Ibid, pp.140-142.
217Ibid, pp.142-143.
218Ibid, pp.156-157.
219Ibid, pp.158.
220Edward Sapir, The Status of Linguistics as a Science, Selected Writings of Edward Sapir in Language,Cultureand Personality, Edited by David G. Mandelbaum, University of California Press,1963, pp.162.
1. Ackerman, James S.‘Toward a New Social Theory of Art’, New Literary History,Vol.4, No.2, On Interpretation: II,(Winter,1973).
2. Alberti, Leon Battista. On Painting, translated by Cecil Grayson, noted by MartinKemp. Penguin,1991.
3. Antal, F.‘Remarks on the Method of Art History: I’, The Burlington Magazine,Vol.91, No.551,(Feb.,1949).
4. Aristotle. Rhetoric, The Complete Works of Aristotle Vol.2. Princeton UniversityPress,1984.
5. Asch, S.E. Social Psychology, Englewood Cliffs, N.J.:Prentice-Hall,1952.
6. Baron, Hans. The Crisis of the Early Italian Renaissance: Civic Humanism andRepublican Liberty in an Age of Classicism and Tyranny. Princeton,1955.
7. Baxandall, Michael. Giotto and The Orators: Humanist observers of painting inItaly and the discovery of pictorial composition1350-1450. Oxford,1971.
8. Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A PrimerIn the Social History of Pictorial Style. Oxford,1972.
9. Baxandall, Michael. Pattens of Intention: On the Historical Explanation ofPictures. Yale,1985.
10. Baxandall, Michael.‘The Language of Art History’. New Literary History10, n.3(Spring1979). pp.453-465.
11. Baxandall, Michael.‘Art, Society, and the Bouguer Principle’. Representations12(Fall1985). pp.32-43.
12. Baxandall, Michael. Episodes: A memorybook. Frances Lincoln,2010.
13. Berkeley, Geroge.‘Three Dialogues between Hylas and Philonous’. The works ofGeorge Berkeley Vol.1. London,1820.
14. Blunt, Anthony. Artistic Theory In Italy,1450-1600. Oxford,1962.
15. Brown, Roger. Words and Things. the Free Press,Glencoe, Illinois,1958.
16. Bruni, Leonardo. Epistolarum libri VIII,ed.L.Mehus,ii, Florence,1731.
17. Burckhardt, Jacob. The Civilization of The Renaissance In Italy. Phaidon,1945.
18. Burke, Jill. Changing Patrons: Social Identity and The Visual Arts in RenaissanceFlorence. Pennsylvania State University,2004.
19. Campana, Augusto.‘The Origin of the Word ‘Humanist’’, Journal of the Warburgand Courtauld Institutes, Vol.9,1946.
20. Cassirer, Ernst.‘The Influence of Language upon the Development of ScientificThought’, The Journal of Philosophy, Vol.39, No.12,(Jun.4,1942).
21. Cassirer, Ernst. The Philosophy of Symbolic Forms, Volume1: Language. YaleUniversity Press,1955.
22. Cennini,Cennino. Il Libro del Arte. D.V.Thompson, ed., New Haven,1932.
23. Cicero, De Oratore I,II, translated by E.W.Sutton. the Loeb Classical Library,Harvard University Press,1967.
24. Collingwood, R.G.. The Idea Of History. Oxford,1956.
25. Curtius, Ernst R. European Literature and the Latin Middle Ages. W.R.Trask trans.New York: Bollingen Press,1953.
26. Elias, Norbert. The Civilizing Process, E.Jephcott, trans. New York:Urizen Books,1978.
27. Ferguson, Wallace K. The Renaissance In Historical Thought: Five Centuries ofInterpretation. Houghton Mifflin Company,1948.
28. Forster, Kurt W.‘Critical History of Art, or Transfiguration of Values?’, NewLiterary History, Vol.3, No.3, Literary and Art History,(Spring,1972).
29. Geertz, Clifford.‘Art as a Cultural System’, MLN, Vol.91, No.6, ComparativeLiterature,(Dec.,1976).
30. Gersh, Stephen and Roest, Bert. Medieval and Renaissance Humanism: Rhetoric,Representation and Reform. Brill,2003.
31. Gombrich, E.H. Art and Illusion: A study in the psychology of pictorialrepresentation. Phaidon Press,1987.
32. Gombrich, E.H.‘Art and Scholarship’, Meditations On A Hobby Horse And OtherEssays On The Theory Of Art. Phaidon,1963.
33. Gombrich, E.H. Ideals And Idols: Essays on values in history and in art. Phaidon,1979.
34. Gombrich, E.H.“Botticelli’s Mythologies: A Study in the Neo-PlatonicSymbolism of his Circle”, Gombrich on The Renaissance, Vol.2. Phaidon,1985.
35. Gray, Hanna H.‘Renaissance Humanism: The Pursuit of Eloquence’, Journal ofthe History of Ideas,Vol.24No.4,(Oct.-Dec.,1963).
36. Gregory, R.L. Eye and Brain: the psychology of seeing. World University Library,
1966.
37. Hallowell, A.I.‘Cultural Factors in the Structuralization of Perception’, SocialPsychology at the Crossroads, New York,1951.
38. Harris,Jonathan. The New Art History: A critical introduction. Routledge,2001.
39. Hegel, Georg Wilhelm Friedrich. The Philosophy of Fine Art, translated byF.P.B.Osmaston, Vol.II. London,1920.
40. Hegel, Georg Wilhelm Friedrich. The Philosophy of History, translation byJ.Sibree. Dover Publications,1956.
41. Hegel, Georg Wilhelm Friedrich. Introductory Lectures on Aesthetics, translatedby Bernard Bosanquet. Penguin Classics,1993.
42. Herskovits, Melville J. Man and his works, New York:Knopf,1948.
43. Herskovits, Melville J. Cultural Anthropology: An Abridged Revision of Man andHis Works. Alfred A.Knopf,1960.
44. Horace. T.S.Dorsch. On The Art Of Poetry. Penguin Books Ltd,1965.
45. Huizinga, Johan. Men and Ideas: History, the Middle Ages, the Renaissance.Princeton University Press,1984.
46. Humboldt, Wilhelm von, Peter Heath tran. On Language: On the Diversity ofHuman Language Construction and its Influence on the Mental Development ofthe Human Species. Cambridge University Press,1999.
47. Jaeger,W. Humanism and Theology. Milwaukee,1943.
48. Kelley, Donald R. Faces of History-Hisrorical Inquiry From Herodotus to Herder.SDX Joint Publishing Company,2000.
49. Klineberg,O. The human dimension in international relations, New York: Holt,Rinehart and Winston,1964.
50. Kristeller, Paul Oskar.‘Florentine Platonism and Its Relations with Humanismand Scholasticism’, Church History, Vol.8,No.3,(Sep.,1939).
51. Kristeller, Paul Oskar. Renaissance Thought: The Classic, Scholastic, andHumanistic Strains. Harper&Row,1961.
52. Langdale, Allan. Interview with Michael Baxandall, Berkeley, CA, Feb.,3,1994.
53. Langdale, Allan.‘Aspects of the Critical Reception and Intellectual History ofBaxandall's Concept of the Period Eye’, Art History, Vol.21, No.4, December1998, pp.479-497.
54. Langdale, Allan.‘Linguistic Theories and Intellectual History in MichaelBaxandall's Giotto and Orators’, Journal of Art Historiography, No.1, December
2009.
55. Lee, Rensselaer W.‘Ut Pictura Poesis: the humanistic theory of painting’, ArtBulletin. XXII,1940.
56. Lessing, Gotthold Ephraim. Laokoon and How The Ancients Represented Death.London G.Bell and Sons,LTD.,1914.
57. Locke, John. An Essay concerning Human Understanding. Penguin,1997.
58. Marshall H.Segall, Donald T.Campbell, Melville J.Herskovits. The Influence ofCulture On Visual Perception. Bobbs-Merrill Company,1966.
59. Nauert,Charles G. Humanism and the Culture of Renaissance Europe. CambridgeUniversity Press,1995.
60. New Dictionary of The History of Ideas. THOMSON,2005.
61. Panofsky, Erwin. Renaissance and Renascences in Western Art. Almqvist&Wiksells,1960.
62. Panofsky, Erwin. Gothic Architecture and Scholasticism. Meridian Books,1985.
63. Podro, Michael. The Critical Historians of Art. Yale University,1982.
64. Plato, Republic, Works of Plato Vol.3, translated by Benjamin Jowett. GuangxiNormal University Press，2008.
65. Randolph, Adrian W.B.‘Gendering the Period Eye: Deschi da Parto andRenaissance Visual Culture’, Art History, Vol.27, No.4, September2004.pp.538-562.
66. Rifkin, Adrian. About Michael Baxandall. Blackwell,1999.
67. Rosand, David.‘Art History and Criticism: The Past as Present’, New LiteraryHistory, Vol.5, No.3, History and Criticism: I,(Spring,1974).
68. Sandys, John Edwin. A History of Classical Scholarship: From The Sixth CenturyB.C. To The End Of The Middle Ages. Cambridge University Press,1903.
69. Sapir, Edward. The Status of Linguistics as a Science, Selected Writings of EdwardSapir in Language,Culture and Personality. Edited by David G. Mandelbaum,University of California Press,1963.
70. Sedlmayr, Hans. Art in Crisis: the lost center. Brian Battershaw, trans., London:Hollis and Carter,1957.
71. Sherif, M. The Psychology of Social Norms, New York,1936.
72. Spencer, John R.‘Ut Rhetorica Pictura: A Study in Quattrocento Theory ofPainting’, Journal of the Warburg and Courtauld Institutes, Vol.20, No.1/2,(Jan.-Jun.,1957).
73. Sumner, W.G. Folkways, Boston:Ginn,1906.
74. Tanner, Jeremy.‘Michael Baxandall and the Sociological Interpretation of Art’,Cultural Sociology, Vol.4, No.2, July2010. pp.231-256.
75. Valla, Lorenzo. Elegantiarum Libri VI, I, Praef., in Opera, Basle,1540.
76. Walsh, W.H. Philosophy of History: An Introduction. Harper&Row,1967.
77. Whorf, Benjamin Lee.‘The Relation of Habitual Thought And Behavior（1939）’,Language, thought, and reality:selected writings. The Massachusetts Institute ofTechnology,1956.
78. Wright, D. R. Edward.‘Alberti's De Pictura:Its Literary Structure and Purpose’,Journal of the Warburg and Courtauld Institutes, Vol.47,(1984).
1.德沃夏克，《作为精神史的美术史》，陈平译，北京大学出版社，2010年
2.恩斯特·卡西尔，《人论》，甘阳译，上海译文出版社，2004年
3.范景中，《美术史的形状：从瓦萨里到20世纪20年代》，中国美术学院出版社，2003年
4.贡布里希，《理想与偶像——价值在历史和艺术中的地位》，范景中、曹意强、周书田译，上海人民美术出版社，1989年
5.柯林伍德，《历史的观念》，何兆武、张文杰译，商务印书馆，2007年
6.威廉·冯·洪堡特，《论人类语言结构的差异及其对人类精神发展的影响》，姚小平译，商务印书馆，2008年
7.亚里士多德，《诗学》，陈中梅译注，商务印书馆，2005年
8.约翰·哥特弗雷德·赫尔德，《反纯粹理性——论宗教、语言和历史文选》，张晓梅译，商务印书馆，2010年
9. W.H.沃尔什，《历史哲学导论》，何兆武、张文杰译，北京大学出版社，2008年