塞蒂尼亚诺的智者
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摘要
本篇论文通过追溯从乔治·瓦萨里直至乔瓦尼·莫雷利的鉴定理论发展,回顾了在鉴定发展历程中起推动作用的几位具有代表性的美术史家及其与鉴定相关的重要理论,然后逐渐把焦点汇聚于伯纳德·贝伦森——莫雷利科学鉴定理论最重要的继承者和实践者,研究其鉴定成就和学术成就带来的巨大影响,让国人更加了解贝伦森这位伟大的鉴定家。并且他的个人收藏体现出他对中国古代艺术的关注,同时亦是东西方艺术交流与融合的例证。
本论文将分为四个部分详细讨论鉴定学理论的发展以及伯纳德·贝伦森的个人成长经历及其成就和影响。在第一章中,首先介绍鉴定学的发展历程,将会详细介绍从乔治·瓦萨里、罗杰·德皮勒、乔纳森·理查德森直至乔瓦尼·莫雷利等标志性人物对于鉴定学的基本观念和鉴定理念以及他们在鉴定学发展历程中所发挥的作用,从而大致呈现出鉴定理论发展的脉络。第二章,将会介绍乔瓦尼·莫雷利最具影响力的追随者——著名鉴定家伯纳德·贝伦森的生平。在第三章中,将会着重讨论伯纳德·贝伦森的思想根源、他的学术成就以及鉴定成就。第四章则集中讨论了从伯纳德·贝伦森的艺术鉴藏中体现出来的东西方艺术的交流与融合。
This dissertation retrospectively summarizes the theoretical development from Giorgio Vasari to Giovanni Morelli and reviews several representative art historians and their important theories, and then focuses on Bernard Berenson——the most influential follower of Morellian scientific connoisseurship. The author of this dissertation (hereafter referred to as the Author) makes a research on Berenson’s achievements in connoisseurship and his scholarly attainments, which would give the Chinese readers a better understanding of the great connoisseur, whose collection might show his concern for Chinese ancient art and the communication of Eastern and Western art.
The Author elaborates the scientific connoisseurship in four parts. The first chapter introduces the development of the scientific connoisseurship from Giorgio Vasari, Roger de Piles, Jonathan Richardson to Giovanni Morelli. The second chapter makes a brief biographical introduction to Giovanni Morelli’s most influential follower—Bernard Berenson, his experience of life, his friends and relationships. Then, in the third chapter, the Author tries to analyze Berenson’s scholastic achievements and his attainments in connoisseurship. In the last chapter, from the perspective of Berenson’s art collection, the Author probes into the harmonious communication and integration of Oriental and Occidental art.
本论文将分为四个部分详细讨论鉴定学理论的发展以及伯纳德·贝伦森的个人成长经历及其成就和影响。在第一章中,首先介绍鉴定学的发展历程,将会详细介绍从乔治·瓦萨里、罗杰·德皮勒、乔纳森·理查德森直至乔瓦尼·莫雷利等标志性人物对于鉴定学的基本观念和鉴定理念以及他们在鉴定学发展历程中所发挥的作用,从而大致呈现出鉴定理论发展的脉络。第二章,将会介绍乔瓦尼·莫雷利最具影响力的追随者——著名鉴定家伯纳德·贝伦森的生平。在第三章中,将会着重讨论伯纳德·贝伦森的思想根源、他的学术成就以及鉴定成就。第四章则集中讨论了从伯纳德·贝伦森的艺术鉴藏中体现出来的东西方艺术的交流与融合。
This dissertation retrospectively summarizes the theoretical development from Giorgio Vasari to Giovanni Morelli and reviews several representative art historians and their important theories, and then focuses on Bernard Berenson——the most influential follower of Morellian scientific connoisseurship. The author of this dissertation (hereafter referred to as the Author) makes a research on Berenson’s achievements in connoisseurship and his scholarly attainments, which would give the Chinese readers a better understanding of the great connoisseur, whose collection might show his concern for Chinese ancient art and the communication of Eastern and Western art.
The Author elaborates the scientific connoisseurship in four parts. The first chapter introduces the development of the scientific connoisseurship from Giorgio Vasari, Roger de Piles, Jonathan Richardson to Giovanni Morelli. The second chapter makes a brief biographical introduction to Giovanni Morelli’s most influential follower—Bernard Berenson, his experience of life, his friends and relationships. Then, in the third chapter, the Author tries to analyze Berenson’s scholastic achievements and his attainments in connoisseurship. In the last chapter, from the perspective of Berenson’s art collection, the Author probes into the harmonious communication and integration of Oriental and Occidental art.
引文
1“Conoscitore”是意大利语“鉴赏家”的意思。
2 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York: Garland, 1988, pp. 45-46.
3英国著名作家亨利·菲尔丁早在其1749年首次出版的代表作《弃儿汤姆·琼斯的历史》[The History of Tom Jones, a Foundling]一书第十三卷第五章就提到了“Connoisseurship”一词。
4 Richard Wollheim, On Art and the Mind: Essays and Lecture, London: Allen Lane, 1973, p.180.
5《中国书画全书》第一册,卢辅圣主编,上海:上海书画出版社,2000年,第120页。
6纪昀等撰《四库全书总目提要》(《画史》一卷两江总督采进本),卷一百二十,子部二十二,艺术类一。
7范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州:中国美术学院出版社,2002年,第1页。
8范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州,2002年,第6页。
9参照《美术史的形状Ⅰ》,第43页。
10 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 21-25.
11 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 45-46.
12 Ibid., pp.50-52.
13 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 53-55.
14 Roger de Piles, Abrégéde la vie des peintres, avec des réflexions sur leurs ouvrages, et un traitédu peintre parfait, de la connoissance des dessins, &de l’utilitédes estampes, Paris, 1699, p.93.
15 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.61.
16 Roger de Piles, Abrégéde la vie des peintres, avec des réflexions sur leurs ouvrages, et un traitédu peintre parfait, de la connoissance des dessins, &de l’utilitédes estampes, Paris, 1699, p.96.
17 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.64.
18 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p. 65.
19 Ibid., p.68.
20 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p. 67.
21 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 67-68.
22《注释和评论弥尔顿的失乐园》,乔纳森·理查德森父子合著。他的儿子是小乔纳森·理查德森[Jonathan Richardson Junior] (1694-1771)。
23 Cf. Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: pp.39-45.
24 Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: p. 3.
25 Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: p.7.
26 Ibid., p.17.
27 Ibid., p.26.
29 Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: p.151.
30 Ibid., p.179.
31 Cf. Ibid., pp. 203-212.
32 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.73.
33 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.77.
34 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 83-85.
35 Ibid., pp. 86-87.
36 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p.180.
37范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州,2002年,第180页。
38 Carlo Ginzburg,“Clues: Roots of a Scientific Paradigm Theory and Society”, Vol. 7, No. 3, 1979, p.274.
39陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年,第121页。
40 Carlo Ginzburg,“Clues: Roots of a Scientific Paradigm Theory and Society”, Vol. 7, No. 3, 1979, p.277.
41 Ibid., p. 278.
42 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p.183.
43 Ibid., pp.195-200.
44 Ibid., p.186.
45范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州,2002年,第182页。
46 Cf. Max J. Friedl?nder, On Art and Connoisseurship, Boston: Beacon Press, 1942, pp.164-169.
47陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年,第122页。
48 Edgar Wind, Art and Anarchy, London: Northwestern University, 1985, p. 36.
49 Ibid.
50范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州:中国美术学院出版社, 2002年,第183-184页。
51 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p.180.
52这个英文版是由唐克雷德·博伦纽斯[Tancred Borenius]根据弗里德伦德尔的德文手稿翻译而成的,而这本书的德文版Von Kunst und Kennerschaft直至一战结束后[1946年]才正式问世。
53 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p. 184.
54 Cole Herbert M,“A Crisis in Connoisseurship”, African Arts, Vol. 36, p.8.
55 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.6.
56 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 18.
57 Thomas Traherne,“The Third Century”, in Centuries of Meditations, New York: Cosimo, Inc., 2007, p. 153.
58 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.2.
59 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.16.
60 Ibid., p.2.
61 Meryle Secrest, Being Bernard Berenson: A Biography, New York, 1979, p. 41.
62 Kenneth Clark,“Bernard Berenson”, The Burlington Magazine, No. 690 (Sep, 1960), pp. 381-386.
63 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.19.
64 Meryle Secrest, Being Bernard Berenson: A Biography, New York, 1979, p. 64.
65 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.23.
66 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 51.
67 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.57.
68 Cf. Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 60.
69 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.98.
70 Ibid., p.103.
71马尔科·明格蒂[Marco Minghetti](1818-1886),曾于1863-1864年任意大利总理。
72笔者在翻译此段文字时,参阅了李本正先生所译“英国艺术史的成长和它从欧洲获得的益处”[哈斯克尔]一文。
73 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 60.
74 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.121.
75即画家乔瓦尼·巴齐[Giovanni Bazzi],一般通称为索多玛。
76 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.98.
77 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.135.
78 Ibid., p.136.
79 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.169.
80 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.187.
82 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 374.
83 Cf. Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston,1981, p.379.
84 Kenneth Clark,“Bernard Berenson”, The Burlington Magazine, Vol.102, No. 690(Sep., 1960), p.383.
85 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.25.
86 Ibid., p.29.
87 Ibid., p.30.
88 Kenneth Clark, A Self-Portrait: The Other Half, London, 1977, p.85.
89参阅范景中先生主编,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州,2002年,第370页。
90 Kenneth Clark,“Bernard Bernson”, The Burlingtong Magazine Vol.102, No.690, The Burlingtong Magazine Publication ltd, p.386.
91 Ibid., p.387.
92 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 245.
93 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.303.
95 1898年,加德纳夫人通过贝伦森以19,000英镑的价格在伦敦购得伦勃朗的《穿黑衣的女士与绅士》[A Lady and Gentleman in Black]与《加利利海上的风暴》以及他一幅极为罕见的《自画像》。
96 Cf. Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 222.
97 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p. 40.
98 Ibid.
99 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.52.
100 Ibid., p.92.
101 Ibid., p.328.
102参阅《贝伦森与加德纳夫人通信录》一书第456页的信件。
103 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.369.
104 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.294.
105 Bernard Berenson, One Year’s Reading for Fun:1942, New York, 1960, p.175.
106 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.415.
107 Ibid., p.417.
108伯特兰·罗素(1872-1970),英国著名哲学家、数学家和逻辑学家。玛丽·贝伦森的妹妹艾丽斯[Alys]是罗素的第一任太太。
109 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.395.
111 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p. 326.
112 Ibid., p. 305.
113 Ibid.
114 Ibid.
115 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, pp. 374-375.
116 Kenneth Clark, A Self-Portrait: The Other Half, London, 1977, p.107.
117 Ibid.
118 1959年4月,贝伦森在聆听了美籍英国小提琴家叶赫迪·梅纽因[Yehudi Menuhin]特地为他演奏的优美音乐之后,于Villa I Tatti留影,这也是他生前拍摄的最后一张照片。From:Hanna Kiel, ed., The Bernard Berenson Treasury, 1887-1958, New York, 1962, pp.13-17.
119 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.16.
120 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 60.
121乔治·桑塔耶纳[George Santayana,著名的哲学家、诗人]、洛根·皮尔索尔·史密斯[Logan Pearsall Smith,作家]等人当时也都是威廉·詹姆斯的学生。
122 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.37.
123 Ibid., p.202.
124陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年,第113页。
125 Bernard Berenson, One Year’s Reading for Fun: 1942, New York: Alfred A. Knopf, 1960, pp.105-106.
126 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, p.16.
127 Walter Pater, The Renaissance: Studies in Art and Poetry, London, 1873, p.236.
128出处同上,参阅张岩冰翻译的《文艺复兴:艺术与诗的研究》,桂林:广西师范大学出版社,2000年,第226页。
129 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.37.
130可参阅第二章第四节。
131 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, pp. 59-60.
132 Sydney J. Freedberg,“Some Thoughts on Berenson, Connoisseurship, and the History of Art”, I Tatti Studies: Essays in the Renaissance, 1989, p. 14.
133 Bernard Berenson, The Italian Painters of the Renaissance, London, 1952, p. 40.
134朱光潜著,《西方美学史》,北京:人民文学出版社,2002年,第584页。
135严北溟顾问;张锡坤主编,《佛教与东方艺术》,长春:吉林教育出版社,1989年,第122页。
136贡布里希著;范景中、林夕译,《艺术与错觉》,杭州,1987年,第17-18页。
137 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.97.
138 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.209.
139 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, pp.136-137.
140参阅范景中先生主编,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州:中国美术学院出版社,2002年,第369页。
141 Kenneth Clark,A Self-Portrait: Another Part of the Wood, London: Hamish Hamilton Ltd, 1985, p.76.
142 Ibid., p.129.
143 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, p.24.
144 Cf. Mary Ann Calo, Bernard Berenson and the Twentieth Century, Philadelphia, 1994, p.127.
145 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 374.
146 Ibid., p.375.
147 Bernard Berenson, Rudiments of Connoisseurship: Study and Criticism of Italian Art*Second Series, New York, 1962, p. 122.
148 Bernard Berenson,“Rudiments of Connoisseurship”, The Study and Criticism of Italian Art * Second Series, New York: Schocken Books, 1962, pp. 132-133.
149 Ibid., p.144.
150 Iris Origo, Images and Shadows, London, 1970, p.132.
151 Cf. Iris Origo, Images and Shadows, London, 1970, pp.132-133.
152 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.134.
153 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.316.
154 Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p. 138.
155 Bernard Berenson, Sketch for a Self-Portrait, New York, 1949, p. 43.
156浮龙·李是英国作家维奥莱特·佩吉特[Violet Paget]的笔名,她与汤姆逊合著美学论文集《论美与丑》。
157雷奈·詹泊尔[RenéGimpel]著;李嘉熙、文佩琳译,《画商詹泊尔日记》,桂林,2003,第290页。
158 Cf. Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p. 135.
159 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.316.
160 Ibid., p.372.
161 Richard Wollheim, Painting as an Art, London, 1987, p.89.
162 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.431.
163 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, pp. 174-175.
164 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, pp. 182-183.
165 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.325.
166 Walter Kaiser, ed., I Tatti Studies: Essays in the Renaissance, Volume 7, Italy: Florence, 1997, p.11.
167 Ku Hung-Ming, The Spirit of the Chinese People, Peking: The Peking Daily News, 1915, pp.13-14.
168 Ibid., p.73.
169引用辜鸿铭:《中国人的精神》,西安:陕西师范大学出版社,2007年,第29页。
170出处同上,第63页。
171 Bernard Berenson, A Sienese Painter of the Franciscan Legend,London, 1910, p.15.
172艾田蒲著;许钧、钱林森译,《中国之欧洲》[上卷],桂林:广西师范大学出版社,2008年,第89页。
173 Bernard Berenson, A Sienese Painter of the Franciscan Legend, London, 1910, p. 14.
174 Bernard Berenson, A Sienese Painter of the Franciscan Legend, London, 1910, pp. 14-15.
175 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, pp.239-240.
176 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, p.240.
177 Cf. Frank Vigneron [韦一空]著;王人德译《,之间:中西艺术赏析比较》[In Between: A Comparative Approach to the Arts of China and the West], Hong Kong, 2007, pp.16-17.
178 Jean-Etienne Liotard, Traitédes Principes et des Règles de la Peinture, Genève, 1945, pp.112-113.
179原文:“…”,参阅: Van Wyck Brooks, Fenollosa and His Circle with Other Essays in Biography, New York, 1962, p.29.
180出处同上。
181 Van Wyck Brooks, Fenollosa and His Circle with Other Essays in Biography, New York, 1962, pp. 25-26.
182明治天皇[めいじてんのう](1852-1912),日本第122代天皇,1867-1912在位。
183 Van Wyck Brooks, Fenollosa and His Circle with Other Essays in Biography, New York, 1962, p.26.
184 Hanna Kiel, ed., The Bernard Berenson Treasury, 1887-1958. New York, 1962, pp.73-74.
Relations, New York, 1992, pp. 39-45.
186宋代中国仏教美術の傑作と褒めちぎられた10幅は、展覧会を企画したアーネスト?フェノロサによって選別され、美術館の支援者であったデンマン.W.ロスによって一万ドルの金額で購入されることになり、彼らは、ボストン美術館を永久に住処とし。
187参阅台湾文化大学艺术研究所教授陈清香“五百罗汉图像研究”一文。
188《宝庆四明志》,(宋)方万里、罗浚纂;(宋)胡矩修,北京:中华书局,1990年6月第一版,第138页。
189在林树中主编的这一套《海外藏中国历代名画》第三卷中,亦持有相同的观点。《海外藏中国历代名画》第三卷,长沙:湖南美术出版社,1998年,第235页。赵启斌在“日美所藏《五百罗汉图》赏析”一文中也表达了同样的看法。
190如我们前面提到了贝伦森在多部著作中谈到了自己对这些罗汉图很着迷;费诺罗萨、登曼·罗斯对它们非常喜爱,并将其引入美国;喜龙仁在接受弗利尔奖章时也谈及自己几十年前在波士顿美术馆遭遇这些罗汉图时的难忘经历,并开始了自己对罗汉图的收藏和研究;普林斯顿大学知名学者方闻教授1956年的博士论文“Five Hundred Lohans at the Daitokuji”就是研究京都大德寺的五百罗汉图。
191《宝庆四明志》,(宋)方万里、罗浚纂;(宋)胡矩修,北京,1990年6月第一版,第40页。
192应为后人临仿龙眠居士《山庄图》之作。
193 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.290.
194 Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p. 116.
195杨仁恺著,《国宝沉浮录》上海:上海人民美术出版社, 2008年,第46-47页。
196参阅陈葆真“图画如历史:传阎立本《十三帝王图》研究”一文,引自顔娟英主编,《美术与考古》上册,北京:中国大百科全书出版社,2005年,第299页。
197 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, pp.239-240.
198 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.276.
199 Cf. Nicky Mariano, Forty Years with Berenson, London, 1966, p.95.
200 Cf. Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p.81.
201 Kenneth Clark, A Self-Portrait: The Other Half, London, 1977, p.84.
202 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.415.
205 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.173.
206 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.190.
207 Ibid., p.284.
208 Rollin Van N. Hadley, ed., The Letters of Bernard Berenson and Isabella Stewart Gardner, 1887-1924, with correspondence by Mary Berenson, Boston, 1987, p.531.
209 Bernard Berenson, Rumor and Reflection, New York, 1952, p.433.
210 Kenneth Clark, A Self Portrait: Another Part of the Wood, London, 1985, P142.
211 Hanna Kiel, ed., The Bernard Berenson Treasury, 1887-1958, New York, 1962, p.14.
212安田朴著;耿昇译,《中国文化西传欧洲史》,北京,2000年,第157页。
213出处同上,第162页。
214 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.289.
215 Ibid., p.293.
216参阅米娜·托玛著;任远哲译,在波士顿为罗汉着迷奥斯瓦尔德·喜龙仁中国艺术记事”一文。
217 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.348.
218 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, pp. 489-490.
219参阅沃伦·科恩著;段勇译注,《东亚艺术与美国文化》,北京:科学出版社,2007年,第37页。
220范景中先生主编,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州,2002年,第493页。
221 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, p. 490.
222 Kenneth Clark, A Self-Portrait: Another Part of the Wood, London: Hamish Hamilton Ltd., 1985, p.162.
223高居翰1926年出生于美国加州,曾长期担任加州大学伯克利分校艺术史和研究生院的教授,以及华盛顿弗利尔美术馆中国书画部顾问,他的著作大多偏向通过风格分析研究中国绘画史的经典书籍,享有世界声誉。
224高居翰著;李渝译,《中国绘画史》,台北,1989年第四版,第7-8页
225克拉克曾经协助贝伦森重新编订其最重要的著作之一《佛罗伦萨画家素描集》。
226 2010年,美国弗利尔美术馆和赛克勒博物馆[The Freer Gallery of Art and the Arthur M. Sackler Gallery]宣布高居翰获得查尔斯·朗·弗利尔奖,表彰他长期以来在中国艺术史研究领域作出的杰出贡献。
227伯纳德·贝伦森、登曼·罗斯等人的艺术收藏品都体现出东西方艺术融合的特点。
艾田蒲[Renéétiemble]著;许钧、钱林森译,《中国之欧洲》[上下两卷],桂林:广西师范大学出版社,2008年。
安田朴[Renéétiemble]著;耿昇译,《中国文化西传欧洲史》,北京:商务印书馆,2000年。
巴克森德尔[Michael Baxandall]著;曹意强、严军、严善錞译,《意图的模式》,杭州:中国美术学院出版社,1997年。
曹意强著,《艺术与历史》,杭州:中国美术学院出版社,2001年。
陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年。
大村西崖著;陈彬和译,《中国美术史》,北京:商务印书馆,1926年。
范景中主编;傅新生、李本正翻译,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州:中国美术学院出版社,2002年。
范景中主编;王彤编著,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州:中国美术学院出版社,2002年。
范景中著,《附庸风雅和艺术欣赏——纪念贡布里希诞辰一百周年》,杭州:中国美术学院出版社,2009年。
(宋)方万里、罗浚编纂,《宝庆四明志》,北京:中华书局,1990年。
斐利兰德[Max J. Friedl?nder]著;梁春生译,《艺术与鉴赏》,台北:远流出版社,1989年。
高居翰著;李渝译,《中国绘画史》,台北:雄狮美术印行,1989年。
贡布里希著;范景中译;林夕校,《艺术发展史——“艺术的故事”》,天津:天津人民出版社,1991年。
贡布里希著;范景中、林夕译,《艺术与错觉》,杭州:浙江摄影出版社,1987年。
贡布里希著;杨思梁、范景中、严善淳译,《艺术与科学——贡布里希谈话录和回忆录》,杭州:浙江摄影出版社,1998年。
贡布里希著;杨思梁、徐一维译,《秩序感——装饰艺术的心理学研究》,杭州:浙江摄影出版社,1987年。
辜鸿铭著;黄兴涛、宋小庆译,《中国人的精神》,海口:海南出版社, 2007年。
辜鸿铭著;陈高华、杜川、刘刚译,《中国人的精神》,西安:陕西师范大学出版社,2007年。
林树中主编,《海外藏中国历代名画》,长沙:湖南美术出版社,1998年。
洪再辛选编,《海外中国画研究文选》(1950-1987),上海:上海人民美术出版社,1992年。
詹姆斯·埃尔金斯著;潘耀昌顾泠译,《西方美术史学中的中国山水画》,杭州:中国美术学院出版社,1999年。
雷德侯著;张总等译;党晟校,《万物:中国艺术中的模件化和规模化生产》,北京:生活·读书·新知三联书店,2005年。
雷奈·詹泊尔著;李嘉熙、文佩琳译,《画商詹泊尔日记》,桂林:广西师范大学出版社,2003年。
利玛窦·金尼阁著;何高济、王遵仲、李申译,《利玛窦中国札记》,北京:中华书局,1983年。
卢辅圣主编,《中国书画全书》第一册,上海:上海书画出版社,2000年。
迈克尔·苏立文著;陈瑞林译,《东西方美术的交流》,南京:江苏美术出版社,1998年。
迈克尔·苏立文著;洪再新译,《山川悠远——中国山水画艺术》,广州:岭南美术出版社,1989年。
韦一空著;王人德译,《之间:中西艺术赏析比较》,香港:中文大学出版社,2007年。
沃尔特·佩特著;张岩冰译,《文艺复兴:艺术与诗的研究》,桂林:广西师范大学出版社,2000年。
吴其尧著,《庞德与中国文化——兼论外国文学在中国文化现代化中的作用》,上海:上海外语教育出版社,2006年。
吴泽义编著;《威尼斯画派》,北京:人民美术出版社,1990年。
严北溟顾问;张锡坤主编,《佛教与东方艺术》,长春:吉林教育出版社,1989年。
严建强著,《十八世纪中国文化在西欧的传播及其反应》,杭州:中国美术学院,2002年。
顔娟英主编,《美术与考古》上册,北京:中国大百科全书出版社,2005年,第299页。
杨仁恺著,《国宝沉浮录》上海:上海人民美术出版社, 2008年。
杨仁恺著,《中国书画鉴定学稿》,沈阳:辽海出版社,2000年。
约翰·赫伊津哈著;刘军等译,《中世纪的衰落》,杭州:中国美术学院,1997年。
沃伦·科恩著;段勇译注,《东亚艺术与美术文化——从国际关系视角研究》,北京:科学出版社,2007年。
张坚著,《视觉形式的生命》,杭州:中国美术学院出版社,2004年。
宗白华著,《艺境》,合肥:安徽教育出版社,2000年。
朱光潜著,《西方美学史》,北京:人民文学出版社,2002年。
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Maginnis, Hayden B. J.“The Role of Perceptual Learning in Connoisseurship: Morelli, Berenson, and Beyond”, Art History 13 (March 1990): pp. 104-117.
Neer, Richard.“Connoisseurship and the Stakes of Style.”Critical Inquiry 32, No. 1(Autumn 2005): pp. 1-26.
Pyne, Kathleen.“Portrait of a Collector as an Agnostic: Charles Lang Freer and Connoisseurship”, The Art Bulletin, Vol. 78, No. 1(Mar., 1996), pp. 75-97.
Ralli, Augustus.“Pater the Humanist”, The North American Review, Vol. 201, No. 711 (Feb., 1915), pp. 217-222.
Soucek, Priscilla P.“Walter Pater, Bernard Berenson, and the Reception of Persian Manuscript Illustration”, Anthropology and Aesthetics, No. 40 (Autumn, 2001), pp. 112-128.
Steefel, Lawrence D.“Review of‘Rumor and Reflection’by Bernard Berenson”, The American Historical Review, Vol. 58, No. 4(Jul., 1953), pp.871-872.
T?rm?, Minna,“Enchanted by Lohans in Boston: Tales of Osvald Sirén's Encounter with Chinese Art”, M. K. 2009, pp.55-67.
Wollheim, Richard.“Giovanni Morelli and the Origins of Scientific Connoisseurship”, in On Art and the Mind: Essays and Lectures, London: Allen Lane, 1973, pp. 176-201.
2 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York: Garland, 1988, pp. 45-46.
3英国著名作家亨利·菲尔丁早在其1749年首次出版的代表作《弃儿汤姆·琼斯的历史》[The History of Tom Jones, a Foundling]一书第十三卷第五章就提到了“Connoisseurship”一词。
4 Richard Wollheim, On Art and the Mind: Essays and Lecture, London: Allen Lane, 1973, p.180.
5《中国书画全书》第一册,卢辅圣主编,上海:上海书画出版社,2000年,第120页。
6纪昀等撰《四库全书总目提要》(《画史》一卷两江总督采进本),卷一百二十,子部二十二,艺术类一。
7范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州:中国美术学院出版社,2002年,第1页。
8范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州,2002年,第6页。
9参照《美术史的形状Ⅰ》,第43页。
10 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 21-25.
11 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 45-46.
12 Ibid., pp.50-52.
13 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 53-55.
14 Roger de Piles, Abrégéde la vie des peintres, avec des réflexions sur leurs ouvrages, et un traitédu peintre parfait, de la connoissance des dessins, &de l’utilitédes estampes, Paris, 1699, p.93.
15 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.61.
16 Roger de Piles, Abrégéde la vie des peintres, avec des réflexions sur leurs ouvrages, et un traitédu peintre parfait, de la connoissance des dessins, &de l’utilitédes estampes, Paris, 1699, p.96.
17 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.64.
18 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p. 65.
19 Ibid., p.68.
20 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p. 67.
21 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 67-68.
22《注释和评论弥尔顿的失乐园》,乔纳森·理查德森父子合著。他的儿子是小乔纳森·理查德森[Jonathan Richardson Junior] (1694-1771)。
23 Cf. Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: pp.39-45.
24 Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: p. 3.
25 Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: p.7.
26 Ibid., p.17.
27 Ibid., p.26.
29 Jonathan Richardson,Two Discourses: Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur, London, 1719, I: p.151.
30 Ibid., p.179.
31 Cf. Ibid., pp. 203-212.
32 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.73.
33 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, p.77.
34 Carol Gibson-Wood, Studies in the Theory of Connoisseurship from Vasari to Morelli, New York, 1988, pp. 83-85.
35 Ibid., pp. 86-87.
36 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p.180.
37范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州,2002年,第180页。
38 Carlo Ginzburg,“Clues: Roots of a Scientific Paradigm Theory and Society”, Vol. 7, No. 3, 1979, p.274.
39陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年,第121页。
40 Carlo Ginzburg,“Clues: Roots of a Scientific Paradigm Theory and Society”, Vol. 7, No. 3, 1979, p.277.
41 Ibid., p. 278.
42 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p.183.
43 Ibid., pp.195-200.
44 Ibid., p.186.
45范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州,2002年,第182页。
46 Cf. Max J. Friedl?nder, On Art and Connoisseurship, Boston: Beacon Press, 1942, pp.164-169.
47陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年,第122页。
48 Edgar Wind, Art and Anarchy, London: Northwestern University, 1985, p. 36.
49 Ibid.
50范景中先生主编,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州:中国美术学院出版社, 2002年,第183-184页。
51 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p.180.
52这个英文版是由唐克雷德·博伦纽斯[Tancred Borenius]根据弗里德伦德尔的德文手稿翻译而成的,而这本书的德文版Von Kunst und Kennerschaft直至一战结束后[1946年]才正式问世。
53 Richard Wollheim, On Art and the Mind: Essays and Lecture, London, 1973, p. 184.
54 Cole Herbert M,“A Crisis in Connoisseurship”, African Arts, Vol. 36, p.8.
55 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.6.
56 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 18.
57 Thomas Traherne,“The Third Century”, in Centuries of Meditations, New York: Cosimo, Inc., 2007, p. 153.
58 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.2.
59 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.16.
60 Ibid., p.2.
61 Meryle Secrest, Being Bernard Berenson: A Biography, New York, 1979, p. 41.
62 Kenneth Clark,“Bernard Berenson”, The Burlington Magazine, No. 690 (Sep, 1960), pp. 381-386.
63 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.19.
64 Meryle Secrest, Being Bernard Berenson: A Biography, New York, 1979, p. 64.
65 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.23.
66 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 51.
67 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.57.
68 Cf. Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 60.
69 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.98.
70 Ibid., p.103.
71马尔科·明格蒂[Marco Minghetti](1818-1886),曾于1863-1864年任意大利总理。
72笔者在翻译此段文字时,参阅了李本正先生所译“英国艺术史的成长和它从欧洲获得的益处”[哈斯克尔]一文。
73 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 60.
74 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.121.
75即画家乔瓦尼·巴齐[Giovanni Bazzi],一般通称为索多玛。
76 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.98.
77 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.135.
78 Ibid., p.136.
79 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.169.
80 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.187.
82 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 374.
83 Cf. Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston,1981, p.379.
84 Kenneth Clark,“Bernard Berenson”, The Burlington Magazine, Vol.102, No. 690(Sep., 1960), p.383.
85 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.25.
86 Ibid., p.29.
87 Ibid., p.30.
88 Kenneth Clark, A Self-Portrait: The Other Half, London, 1977, p.85.
89参阅范景中先生主编,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州,2002年,第370页。
90 Kenneth Clark,“Bernard Bernson”, The Burlingtong Magazine Vol.102, No.690, The Burlingtong Magazine Publication ltd, p.386.
91 Ibid., p.387.
92 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 245.
93 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.303.
95 1898年,加德纳夫人通过贝伦森以19,000英镑的价格在伦敦购得伦勃朗的《穿黑衣的女士与绅士》[A Lady and Gentleman in Black]与《加利利海上的风暴》以及他一幅极为罕见的《自画像》。
96 Cf. Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 222.
97 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p. 40.
98 Ibid.
99 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.52.
100 Ibid., p.92.
101 Ibid., p.328.
102参阅《贝伦森与加德纳夫人通信录》一书第456页的信件。
103 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.369.
104 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.294.
105 Bernard Berenson, One Year’s Reading for Fun:1942, New York, 1960, p.175.
106 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.415.
107 Ibid., p.417.
108伯特兰·罗素(1872-1970),英国著名哲学家、数学家和逻辑学家。玛丽·贝伦森的妹妹艾丽斯[Alys]是罗素的第一任太太。
109 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.395.
111 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p. 326.
112 Ibid., p. 305.
113 Ibid.
114 Ibid.
115 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, pp. 374-375.
116 Kenneth Clark, A Self-Portrait: The Other Half, London, 1977, p.107.
117 Ibid.
118 1959年4月,贝伦森在聆听了美籍英国小提琴家叶赫迪·梅纽因[Yehudi Menuhin]特地为他演奏的优美音乐之后,于Villa I Tatti留影,这也是他生前拍摄的最后一张照片。From:Hanna Kiel, ed., The Bernard Berenson Treasury, 1887-1958, New York, 1962, pp.13-17.
119 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.16.
120 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, p. 60.
121乔治·桑塔耶纳[George Santayana,著名的哲学家、诗人]、洛根·皮尔索尔·史密斯[Logan Pearsall Smith,作家]等人当时也都是威廉·詹姆斯的学生。
122 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.37.
123 Ibid., p.202.
124陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年,第113页。
125 Bernard Berenson, One Year’s Reading for Fun: 1942, New York: Alfred A. Knopf, 1960, pp.105-106.
126 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, p.16.
127 Walter Pater, The Renaissance: Studies in Art and Poetry, London, 1873, p.236.
128出处同上,参阅张岩冰翻译的《文艺复兴:艺术与诗的研究》,桂林:广西师范大学出版社,2000年,第226页。
129 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.37.
130可参阅第二章第四节。
131 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, pp. 59-60.
132 Sydney J. Freedberg,“Some Thoughts on Berenson, Connoisseurship, and the History of Art”, I Tatti Studies: Essays in the Renaissance, 1989, p. 14.
133 Bernard Berenson, The Italian Painters of the Renaissance, London, 1952, p. 40.
134朱光潜著,《西方美学史》,北京:人民文学出版社,2002年,第584页。
135严北溟顾问;张锡坤主编,《佛教与东方艺术》,长春:吉林教育出版社,1989年,第122页。
136贡布里希著;范景中、林夕译,《艺术与错觉》,杭州,1987年,第17-18页。
137 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.97.
138 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.209.
139 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, pp.136-137.
140参阅范景中先生主编,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州:中国美术学院出版社,2002年,第369页。
141 Kenneth Clark,A Self-Portrait: Another Part of the Wood, London: Hamish Hamilton Ltd, 1985, p.76.
142 Ibid., p.129.
143 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, p.24.
144 Cf. Mary Ann Calo, Bernard Berenson and the Twentieth Century, Philadelphia, 1994, p.127.
145 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p. 374.
146 Ibid., p.375.
147 Bernard Berenson, Rudiments of Connoisseurship: Study and Criticism of Italian Art*Second Series, New York, 1962, p. 122.
148 Bernard Berenson,“Rudiments of Connoisseurship”, The Study and Criticism of Italian Art * Second Series, New York: Schocken Books, 1962, pp. 132-133.
149 Ibid., p.144.
150 Iris Origo, Images and Shadows, London, 1970, p.132.
151 Cf. Iris Origo, Images and Shadows, London, 1970, pp.132-133.
152 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.134.
153 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.316.
154 Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p. 138.
155 Bernard Berenson, Sketch for a Self-Portrait, New York, 1949, p. 43.
156浮龙·李是英国作家维奥莱特·佩吉特[Violet Paget]的笔名,她与汤姆逊合著美学论文集《论美与丑》。
157雷奈·詹泊尔[RenéGimpel]著;李嘉熙、文佩琳译,《画商詹泊尔日记》,桂林,2003,第290页。
158 Cf. Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p. 135.
159 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.316.
160 Ibid., p.372.
161 Richard Wollheim, Painting as an Art, London, 1987, p.89.
162 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.431.
163 Bernard Berenson, Sketch for a Self-Portrait, New York: Pantheon, 1949, pp. 174-175.
164 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, pp. 182-183.
165 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.325.
166 Walter Kaiser, ed., I Tatti Studies: Essays in the Renaissance, Volume 7, Italy: Florence, 1997, p.11.
167 Ku Hung-Ming, The Spirit of the Chinese People, Peking: The Peking Daily News, 1915, pp.13-14.
168 Ibid., p.73.
169引用辜鸿铭:《中国人的精神》,西安:陕西师范大学出版社,2007年,第29页。
170出处同上,第63页。
171 Bernard Berenson, A Sienese Painter of the Franciscan Legend,London, 1910, p.15.
172艾田蒲著;许钧、钱林森译,《中国之欧洲》[上卷],桂林:广西师范大学出版社,2008年,第89页。
173 Bernard Berenson, A Sienese Painter of the Franciscan Legend, London, 1910, p. 14.
174 Bernard Berenson, A Sienese Painter of the Franciscan Legend, London, 1910, pp. 14-15.
175 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, pp.239-240.
176 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, p.240.
177 Cf. Frank Vigneron [韦一空]著;王人德译《,之间:中西艺术赏析比较》[In Between: A Comparative Approach to the Arts of China and the West], Hong Kong, 2007, pp.16-17.
178 Jean-Etienne Liotard, Traitédes Principes et des Règles de la Peinture, Genève, 1945, pp.112-113.
179原文:“…”,参阅: Van Wyck Brooks, Fenollosa and His Circle with Other Essays in Biography, New York, 1962, p.29.
180出处同上。
181 Van Wyck Brooks, Fenollosa and His Circle with Other Essays in Biography, New York, 1962, pp. 25-26.
182明治天皇[めいじてんのう](1852-1912),日本第122代天皇,1867-1912在位。
183 Van Wyck Brooks, Fenollosa and His Circle with Other Essays in Biography, New York, 1962, p.26.
184 Hanna Kiel, ed., The Bernard Berenson Treasury, 1887-1958. New York, 1962, pp.73-74.
Relations, New York, 1992, pp. 39-45.
186宋代中国仏教美術の傑作と褒めちぎられた10幅は、展覧会を企画したアーネスト?フェノロサによって選別され、美術館の支援者であったデンマン.W.ロスによって一万ドルの金額で購入されることになり、彼らは、ボストン美術館を永久に住処とし。
187参阅台湾文化大学艺术研究所教授陈清香“五百罗汉图像研究”一文。
188《宝庆四明志》,(宋)方万里、罗浚纂;(宋)胡矩修,北京:中华书局,1990年6月第一版,第138页。
189在林树中主编的这一套《海外藏中国历代名画》第三卷中,亦持有相同的观点。《海外藏中国历代名画》第三卷,长沙:湖南美术出版社,1998年,第235页。赵启斌在“日美所藏《五百罗汉图》赏析”一文中也表达了同样的看法。
190如我们前面提到了贝伦森在多部著作中谈到了自己对这些罗汉图很着迷;费诺罗萨、登曼·罗斯对它们非常喜爱,并将其引入美国;喜龙仁在接受弗利尔奖章时也谈及自己几十年前在波士顿美术馆遭遇这些罗汉图时的难忘经历,并开始了自己对罗汉图的收藏和研究;普林斯顿大学知名学者方闻教授1956年的博士论文“Five Hundred Lohans at the Daitokuji”就是研究京都大德寺的五百罗汉图。
191《宝庆四明志》,(宋)方万里、罗浚纂;(宋)胡矩修,北京,1990年6月第一版,第40页。
192应为后人临仿龙眠居士《山庄图》之作。
193 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.290.
194 Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p. 116.
195杨仁恺著,《国宝沉浮录》上海:上海人民美术出版社, 2008年,第46-47页。
196参阅陈葆真“图画如历史:传阎立本《十三帝王图》研究”一文,引自顔娟英主编,《美术与考古》上册,北京:中国大百科全书出版社,2005年,第299页。
197 Bernard Berenson, Aesthetics and History in the Visual Arts, New York, 1948, pp.239-240.
198 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.276.
199 Cf. Nicky Mariano, Forty Years with Berenson, London, 1966, p.95.
200 Cf. Kenneth Clark, A Self-Portrait: Another Part of the Wood, London, 1985, p.81.
201 Kenneth Clark, A Self-Portrait: The Other Half, London, 1977, p.84.
202 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.415.
205 Cf. Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.173.
206 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.190.
207 Ibid., p.284.
208 Rollin Van N. Hadley, ed., The Letters of Bernard Berenson and Isabella Stewart Gardner, 1887-1924, with correspondence by Mary Berenson, Boston, 1987, p.531.
209 Bernard Berenson, Rumor and Reflection, New York, 1952, p.433.
210 Kenneth Clark, A Self Portrait: Another Part of the Wood, London, 1985, P142.
211 Hanna Kiel, ed., The Bernard Berenson Treasury, 1887-1958, New York, 1962, p.14.
212安田朴著;耿昇译,《中国文化西传欧洲史》,北京,2000年,第157页。
213出处同上,第162页。
214 Ernest Samuels, Bernard Berenson: The Making of a Legend, Boston, 1987, p.289.
215 Ibid., p.293.
216参阅米娜·托玛著;任远哲译,在波士顿为罗汉着迷奥斯瓦尔德·喜龙仁中国艺术记事”一文。
217 Ernest Samuels, Bernard Berenson: The Making of a Connoisseur, Boston, 1981, p.348.
218 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, pp. 489-490.
219参阅沃伦·科恩著;段勇译注,《东亚艺术与美国文化》,北京:科学出版社,2007年,第37页。
220范景中先生主编,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州,2002年,第493页。
221 Bernard Berenson, Sunset and Twilight: From The Diaries of 1947-1958, New York, 1963, p. 490.
222 Kenneth Clark, A Self-Portrait: Another Part of the Wood, London: Hamish Hamilton Ltd., 1985, p.162.
223高居翰1926年出生于美国加州,曾长期担任加州大学伯克利分校艺术史和研究生院的教授,以及华盛顿弗利尔美术馆中国书画部顾问,他的著作大多偏向通过风格分析研究中国绘画史的经典书籍,享有世界声誉。
224高居翰著;李渝译,《中国绘画史》,台北,1989年第四版,第7-8页
225克拉克曾经协助贝伦森重新编订其最重要的著作之一《佛罗伦萨画家素描集》。
226 2010年,美国弗利尔美术馆和赛克勒博物馆[The Freer Gallery of Art and the Arthur M. Sackler Gallery]宣布高居翰获得查尔斯·朗·弗利尔奖,表彰他长期以来在中国艺术史研究领域作出的杰出贡献。
227伯纳德·贝伦森、登曼·罗斯等人的艺术收藏品都体现出东西方艺术融合的特点。
艾田蒲[Renéétiemble]著;许钧、钱林森译,《中国之欧洲》[上下两卷],桂林:广西师范大学出版社,2008年。
安田朴[Renéétiemble]著;耿昇译,《中国文化西传欧洲史》,北京:商务印书馆,2000年。
巴克森德尔[Michael Baxandall]著;曹意强、严军、严善錞译,《意图的模式》,杭州:中国美术学院出版社,1997年。
曹意强著,《艺术与历史》,杭州:中国美术学院出版社,2001年。
陈平,《西方美术史学史》,杭州:中国美术学院出版社,2008年。
大村西崖著;陈彬和译,《中国美术史》,北京:商务印书馆,1926年。
范景中主编;傅新生、李本正翻译,《美术史的形状Ⅰ:从瓦萨里到20世纪20年代》,杭州:中国美术学院出版社,2002年。
范景中主编;王彤编著,《美术史的形状Ⅱ:西方美术史的文献和书目》,杭州:中国美术学院出版社,2002年。
范景中著,《附庸风雅和艺术欣赏——纪念贡布里希诞辰一百周年》,杭州:中国美术学院出版社,2009年。
(宋)方万里、罗浚编纂,《宝庆四明志》,北京:中华书局,1990年。
斐利兰德[Max J. Friedl?nder]著;梁春生译,《艺术与鉴赏》,台北:远流出版社,1989年。
高居翰著;李渝译,《中国绘画史》,台北:雄狮美术印行,1989年。
贡布里希著;范景中译;林夕校,《艺术发展史——“艺术的故事”》,天津:天津人民出版社,1991年。
贡布里希著;范景中、林夕译,《艺术与错觉》,杭州:浙江摄影出版社,1987年。
贡布里希著;杨思梁、范景中、严善淳译,《艺术与科学——贡布里希谈话录和回忆录》,杭州:浙江摄影出版社,1998年。
贡布里希著;杨思梁、徐一维译,《秩序感——装饰艺术的心理学研究》,杭州:浙江摄影出版社,1987年。
辜鸿铭著;黄兴涛、宋小庆译,《中国人的精神》,海口:海南出版社, 2007年。
辜鸿铭著;陈高华、杜川、刘刚译,《中国人的精神》,西安:陕西师范大学出版社,2007年。
林树中主编,《海外藏中国历代名画》,长沙:湖南美术出版社,1998年。
洪再辛选编,《海外中国画研究文选》(1950-1987),上海:上海人民美术出版社,1992年。
詹姆斯·埃尔金斯著;潘耀昌顾泠译,《西方美术史学中的中国山水画》,杭州:中国美术学院出版社,1999年。
雷德侯著;张总等译;党晟校,《万物:中国艺术中的模件化和规模化生产》,北京:生活·读书·新知三联书店,2005年。
雷奈·詹泊尔著;李嘉熙、文佩琳译,《画商詹泊尔日记》,桂林:广西师范大学出版社,2003年。
利玛窦·金尼阁著;何高济、王遵仲、李申译,《利玛窦中国札记》,北京:中华书局,1983年。
卢辅圣主编,《中国书画全书》第一册,上海:上海书画出版社,2000年。
迈克尔·苏立文著;陈瑞林译,《东西方美术的交流》,南京:江苏美术出版社,1998年。
迈克尔·苏立文著;洪再新译,《山川悠远——中国山水画艺术》,广州:岭南美术出版社,1989年。
韦一空著;王人德译,《之间:中西艺术赏析比较》,香港:中文大学出版社,2007年。
沃尔特·佩特著;张岩冰译,《文艺复兴:艺术与诗的研究》,桂林:广西师范大学出版社,2000年。
吴其尧著,《庞德与中国文化——兼论外国文学在中国文化现代化中的作用》,上海:上海外语教育出版社,2006年。
吴泽义编著;《威尼斯画派》,北京:人民美术出版社,1990年。
严北溟顾问;张锡坤主编,《佛教与东方艺术》,长春:吉林教育出版社,1989年。
严建强著,《十八世纪中国文化在西欧的传播及其反应》,杭州:中国美术学院,2002年。
顔娟英主编,《美术与考古》上册,北京:中国大百科全书出版社,2005年,第299页。
杨仁恺著,《国宝沉浮录》上海:上海人民美术出版社, 2008年。
杨仁恺著,《中国书画鉴定学稿》,沈阳:辽海出版社,2000年。
约翰·赫伊津哈著;刘军等译,《中世纪的衰落》,杭州:中国美术学院,1997年。
沃伦·科恩著;段勇译注,《东亚艺术与美术文化——从国际关系视角研究》,北京:科学出版社,2007年。
张坚著,《视觉形式的生命》,杭州:中国美术学院出版社,2004年。
宗白华著,《艺境》,合肥:安徽教育出版社,2000年。
朱光潜著,《西方美学史》,北京:人民文学出版社,2002年。
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