艺术与博物馆
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摘要
西方博物馆的历史最早可以追溯到古希腊神庙和亚利山大城的博物馆,文艺复兴晚期开始,建立私人收藏成为贵族和学者们生活的重要内容,他们收藏了包括艺术品在内的各种珍稀物,成为其政治、社会、经济、文化生活的重要内容。私人收藏除了供藏家个人欣赏外,逐渐向部分特权阶层和学者、艺术家、学生等开放,而法国大革命后的卢浮宫艺术展则标志着现代意义上的第一所公共艺术博物馆出现。19和20世纪被誉为是博物馆时代,大批公共艺术博物馆此时陆续在世界范围内建成。正是由于博物馆文化现象的逐渐成熟,许多不同领域的学者都将目光投向了博物馆,从各自的学科角度和个人兴趣出发对博物馆进行多维度的思考。
真正对博物馆的学术研究始于20世纪,所思考的问题除了博物馆实践外,主要集中在收藏和博物馆史研究,另外也形成了博物馆学和博物馆志的概念。认为对博物馆的理论研究属于博物馆学研究的内容,而博物馆志则是对博物馆实践的思考,这属于博物馆学的早期阶段。到了上世纪晚期,随着学术环境的变化,对博物馆的研究思路有了大转变,主要体现在新博物馆学的出现以及对博物馆研究方法的多样化,使博物馆学成了多学科、跨学科的重要研究领域。当然其中最重要、贡献最大的还在于围绕艺术博物馆,由艺术史家和相关领域学者作出的研究成果。除了传统的艺术博物馆史、艺术品收藏史研究外,他们还站在现代学术立场上,对在博物馆中日益重要的艺术展览、博物馆作为艺术机构等问题进行了批评研究,对博物馆与艺术品之间的关系这一古老而持久的问题不断进行反思。当艺术品被转移入藏博物馆后,引发了很多人的质疑:这种对艺术品的处理方式是否合适?艺术品在博物馆内的展览方式是否能使艺术品复活?有些学者认为博物馆扼杀了艺术品,如果这样,那么艺术博物馆的目的何在?它的展览和收藏是为了向观众呈现艺术品的特质,还是有其它目的?在博物馆一味宣称的教育这一目标之后,是否还有其它意图?博物馆馆与艺术史的关系如何?等等,针对这些问题,不同时期的学者都发表过各自的看法。本文正是在艺术与博物馆、博物馆与艺术史之间的关系中,展开了对英美艺术博物馆学的研究之路。
A museum is a complex institution and has a long history in the west. In classical times it signified a temple dedicated to the Muses, and the most famous museum of that era founded at Alexandria about the third century B. C. by Ptolemy. The idea of modern museum is a product of Renaissance humanism; with keen interest in the classical past and the world about him, the humanist began to throw off the reins of superstition and take halting steps toward a scientific method and the sense of history. Influenced by the humanist and artists, the princes and his family of Europe also began to collect works of art, antiques and animals, botanical rarities, which were installed mainly in cabinet, usually a square-shaped room, and gallery, a long grand hall for pictures and sculptures. Both types of collections rarely open to the public and remained the playthings of princes, popes, and plutocrats. These collections may be based upon the desire for physical security, social distinction, political power, the pursuit of knowledge, and a wish to achieve a kind of immortality. The Palace of the Louvre in Paris, opened to the public during the French Revolution, may be regarded as the first public art museum, and after that the nineteenth and twentieth centuries were called the museum age, in which all the nations from Europe to America and Asia began to establish their own national museums. Today, the museum was regarded as a cultural and tourist center performing with political, economical and social power, and also became a field of academic study.
Museology is a term used to describe the theoretical study of museums, including the museum history, theory of museum practice, and the various academic studies of museum profession. Museography, another important term in museum study, used to depict the museum practices, which also called applied museology, distinct from the philosophical study of museum. With the development of museum culture and museology, in Anglo-American writing, there appeared a trend of new museology in the later twentieth century. These scholars of new museology, in the critical standpoint, came from different disciplines and fields focused on the different parts of museum, especially the political and social role of the museum. The new museology continuously expending its fields inspired by the theories of history, anthropology, sociology, and some new thoughts, such as culture studies, post-colonialism, feminism and so on, has become a multi-and inter-disciplinary study fields. Except these areas, the main contribution to museum studies made by the art history, which has a well-established tradition in studying the art museum history and art collection history, as well as the art exhibition phenomena.
Among the various questions asked by art museum studies experts, the relationship between art and museum is the first and most important one. The institution of modern art museum appeared much later than art itself, and old paintings and sculptures were not produced originally for the museum; so removing the works of art from churches and private houses to the public museum is good for art? Some speakers said that museum killed art. If it were true, so what would be the justification of art museum? And then, what is the purpose of art museum? Is there any potential intention of an art museum except for education which is the primary base of museum founded on? All these questions asked by critics and researches with suspicions, but the most people support museum for different reasons including the modern and living artists who both hate and love museum. The relationship between art museum and art history is another subject in this dissertation, for art museum providing the first materials and object for art history and at the same time it destroy the original settings of works of art.
真正对博物馆的学术研究始于20世纪,所思考的问题除了博物馆实践外,主要集中在收藏和博物馆史研究,另外也形成了博物馆学和博物馆志的概念。认为对博物馆的理论研究属于博物馆学研究的内容,而博物馆志则是对博物馆实践的思考,这属于博物馆学的早期阶段。到了上世纪晚期,随着学术环境的变化,对博物馆的研究思路有了大转变,主要体现在新博物馆学的出现以及对博物馆研究方法的多样化,使博物馆学成了多学科、跨学科的重要研究领域。当然其中最重要、贡献最大的还在于围绕艺术博物馆,由艺术史家和相关领域学者作出的研究成果。除了传统的艺术博物馆史、艺术品收藏史研究外,他们还站在现代学术立场上,对在博物馆中日益重要的艺术展览、博物馆作为艺术机构等问题进行了批评研究,对博物馆与艺术品之间的关系这一古老而持久的问题不断进行反思。当艺术品被转移入藏博物馆后,引发了很多人的质疑:这种对艺术品的处理方式是否合适?艺术品在博物馆内的展览方式是否能使艺术品复活?有些学者认为博物馆扼杀了艺术品,如果这样,那么艺术博物馆的目的何在?它的展览和收藏是为了向观众呈现艺术品的特质,还是有其它目的?在博物馆一味宣称的教育这一目标之后,是否还有其它意图?博物馆馆与艺术史的关系如何?等等,针对这些问题,不同时期的学者都发表过各自的看法。本文正是在艺术与博物馆、博物馆与艺术史之间的关系中,展开了对英美艺术博物馆学的研究之路。
A museum is a complex institution and has a long history in the west. In classical times it signified a temple dedicated to the Muses, and the most famous museum of that era founded at Alexandria about the third century B. C. by Ptolemy. The idea of modern museum is a product of Renaissance humanism; with keen interest in the classical past and the world about him, the humanist began to throw off the reins of superstition and take halting steps toward a scientific method and the sense of history. Influenced by the humanist and artists, the princes and his family of Europe also began to collect works of art, antiques and animals, botanical rarities, which were installed mainly in cabinet, usually a square-shaped room, and gallery, a long grand hall for pictures and sculptures. Both types of collections rarely open to the public and remained the playthings of princes, popes, and plutocrats. These collections may be based upon the desire for physical security, social distinction, political power, the pursuit of knowledge, and a wish to achieve a kind of immortality. The Palace of the Louvre in Paris, opened to the public during the French Revolution, may be regarded as the first public art museum, and after that the nineteenth and twentieth centuries were called the museum age, in which all the nations from Europe to America and Asia began to establish their own national museums. Today, the museum was regarded as a cultural and tourist center performing with political, economical and social power, and also became a field of academic study.
Museology is a term used to describe the theoretical study of museums, including the museum history, theory of museum practice, and the various academic studies of museum profession. Museography, another important term in museum study, used to depict the museum practices, which also called applied museology, distinct from the philosophical study of museum. With the development of museum culture and museology, in Anglo-American writing, there appeared a trend of new museology in the later twentieth century. These scholars of new museology, in the critical standpoint, came from different disciplines and fields focused on the different parts of museum, especially the political and social role of the museum. The new museology continuously expending its fields inspired by the theories of history, anthropology, sociology, and some new thoughts, such as culture studies, post-colonialism, feminism and so on, has become a multi-and inter-disciplinary study fields. Except these areas, the main contribution to museum studies made by the art history, which has a well-established tradition in studying the art museum history and art collection history, as well as the art exhibition phenomena.
Among the various questions asked by art museum studies experts, the relationship between art and museum is the first and most important one. The institution of modern art museum appeared much later than art itself, and old paintings and sculptures were not produced originally for the museum; so removing the works of art from churches and private houses to the public museum is good for art? Some speakers said that museum killed art. If it were true, so what would be the justification of art museum? And then, what is the purpose of art museum? Is there any potential intention of an art museum except for education which is the primary base of museum founded on? All these questions asked by critics and researches with suspicions, but the most people support museum for different reasons including the modern and living artists who both hate and love museum. The relationship between art museum and art history is another subject in this dissertation, for art museum providing the first materials and object for art history and at the same time it destroy the original settings of works of art.
引文
1转引自Germain Bazin: The Museum Age, Eng. trans. Jane van Nuis Cabill, New York: Universal Press, 1967, p.11.
1 David Murray: Museums, their History and their Use, Glasgow: James MacLehose and Sons, 1904.
1卢浮宫的阿波罗画廊[Apollo Gallery]入口的门楣上镌刻碑文记录了这件伟大的历史盛事。Carol Duncan: Civilizing Rituals: Inside Public Art Museum, London & New York: Routledge, 1995, p.22.
2有关公共博物馆产生的讨论参见本章第二部分。
3 James J. Sheehan: Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism, New York: Oxford University Press, 2000, p.51.
4参见张骞:《上学部请设博览馆议》和《上南皮相国请京师建设帝国博览馆议》,载李淑萍,宋伯胤选注:《博物馆历史文选》,西安:陕西人民出版社,2000,第150-161页。
1曹意强:《艺术与历史》,杭州:中国美术学院出版社,2001,第22页。
1 Niels von Holst: Creators, Collectors and Connoisseurs, Eng. trans. Brian Battershaw, London: Thames and Hudson, 1967, p.63.
2 [瑞士]雅各布·布克哈特:《意大利文艺复兴时期的文化》,何新译,马香雪校,北京:商务印书馆,2002,第172-182页。
1参见Andrew McClellan: Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-century Paris, New York: Cambridge University Press, 1994, p.51.
2参见Michelle Foucault: The Order of Things (Eng. trans.), London & New York: Routledge, 2009, pp.34-35.
3转引自Patrick Mauriès: Cabinets of Curiosities, London: Thames & Hudson Ltd, 2002, p.23.
4 E. Hooper-Greenhill: Museums and the Shaping of Knowledge, London: Routledge, 1992, p.82.
1 Germain Bazin: The Museum Age,Eng. trans. Jane van Nuis Cabill, New York: Universal Press, 1967, p.130.
2转引自Nikolaus Pevsner: A History of Building Types, London: Thames and Hundson, 1976, p.112.
3 PUG, Kircher, MS 560 (VI), f. III (Kircher to G. B. Olivi, 23 October 1671), quoted in V. Rivosecchi, Ecotismo in Roma barocca: studi sul Padre Kircher (Rome, 1982), p. 141, in Paula Findlen:‘The Museum: Its Classical Etymology and Renaissance Genealogy’in Journal of the History of Collections no. I (1989), p. 71.
4 Sherman E. Lee:“The Idea of an Art Museum”, Harper’s Magazine, Sept. 1986, p.76.
5 Carol Duncan: Civilizing Rituals: inside public art museums, New York: Routledge, 1995, p. 1.
1 David Murray: Museums, their History and their Use, Glasgow: James MacLehose and Sons, 1904, p.36.
2 E. Hooper-Greenhill: Museums and the Shaping of Knowledge, London: Routledge, 1992, p.88.
3关于北欧艺术品收藏情况可参看O. Impey and A. MacGregor (eds.): The Origins of Museums: The Cabinet of Curiosities in Sixtheenth and Seventeenth-century Europe, Oxford: Clarendon Press, 1985.
1 Thomas Dacosta Kaufmann:“Remarks on the Collections of Rudolf II: the Kunstkammer as a Form of Representatio”in Art Journal, Vol.38, No.1, 1978, p.21.
2哈布斯堡家族的收藏史参见Thomas D. Kaufmann:“From Treasury to Museum: The Collections of the Austrian Habsburgs”, in John Elsner, Roger Cardinal (eds.): The Cultures of Collecting, London: Reaktion Books, 1994, pp.137-154.
3 Jeffrey Abt:“The Origins of the Public Museum”, in Sharon Macdonald (ed.): A Companion to Museum Studies, Oxford &Victoria: Blackwell Publishing, 2006, p.122.另外参见李军:《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(一)》,《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(二)》《美术研究》,2008/2、3。
1 Max J. Friedl?nder: On Art and Connoisseurship, Boston: Beacon Press, 1960, p.145.
1参见Arthur MacGregor: Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to Nineteenth Century, New York and London: Yale University Press, 2007, p.60.
1参见Arthur MacGregor: Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to Nineteenth Century, New York and London: Yale University Press, 2007, p.61.
1参见W. R. Valentiner:“Scholarship in Museums: Personal Reminiscences”, College Art Journal, Vol.19, No.1, 1959, pp. 65-68.
1英文翻译为《论历史的用途与滥用》[The Use and Abuse of History],中文译本也以此为名。
2 [德]弗里德里希·尼采:《历史的用途与滥用》,陈涛周辉荣译,刘北成校,上海:上海人民出版社,2005,第1页。
3同上,第91-92页。
4转引自Francis Haskell: The Ephemeral Museum: old master paintings and the rise of the art exhibition, New Haven & London: Yale University Press, 2000, p.6.
1赛亚·伯林:《维柯与文化史》,载《扭曲的人性之才》,岳秀坤译,南京:译林出版社,2009,第51-53页。
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曹意强:《美术博物馆的定义与国际学术现状》,《新美术》,2008/1
万木春:《早期梅迪奇家族艺术收藏研究》,载于范景中、曹意强主编:《艺术史
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李军:《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(二)》,《美术研究》,2008/3
李军:《美术学院陈列馆与沙龙:博物馆展览制度考(上)》,《美术研究》,2009/1
李军:《美术学院陈列馆与沙龙:博物馆展览制度考(下)》,《美术研究》,2009/2
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1 David Murray: Museums, their History and their Use, Glasgow: James MacLehose and Sons, 1904.
1卢浮宫的阿波罗画廊[Apollo Gallery]入口的门楣上镌刻碑文记录了这件伟大的历史盛事。Carol Duncan: Civilizing Rituals: Inside Public Art Museum, London & New York: Routledge, 1995, p.22.
2有关公共博物馆产生的讨论参见本章第二部分。
3 James J. Sheehan: Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism, New York: Oxford University Press, 2000, p.51.
4参见张骞:《上学部请设博览馆议》和《上南皮相国请京师建设帝国博览馆议》,载李淑萍,宋伯胤选注:《博物馆历史文选》,西安:陕西人民出版社,2000,第150-161页。
1曹意强:《艺术与历史》,杭州:中国美术学院出版社,2001,第22页。
1 Niels von Holst: Creators, Collectors and Connoisseurs, Eng. trans. Brian Battershaw, London: Thames and Hudson, 1967, p.63.
2 [瑞士]雅各布·布克哈特:《意大利文艺复兴时期的文化》,何新译,马香雪校,北京:商务印书馆,2002,第172-182页。
1参见Andrew McClellan: Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-century Paris, New York: Cambridge University Press, 1994, p.51.
2参见Michelle Foucault: The Order of Things (Eng. trans.), London & New York: Routledge, 2009, pp.34-35.
3转引自Patrick Mauriès: Cabinets of Curiosities, London: Thames & Hudson Ltd, 2002, p.23.
4 E. Hooper-Greenhill: Museums and the Shaping of Knowledge, London: Routledge, 1992, p.82.
1 Germain Bazin: The Museum Age,Eng. trans. Jane van Nuis Cabill, New York: Universal Press, 1967, p.130.
2转引自Nikolaus Pevsner: A History of Building Types, London: Thames and Hundson, 1976, p.112.
3 PUG, Kircher, MS 560 (VI), f. III (Kircher to G. B. Olivi, 23 October 1671), quoted in V. Rivosecchi, Ecotismo in Roma barocca: studi sul Padre Kircher (Rome, 1982), p. 141, in Paula Findlen:‘The Museum: Its Classical Etymology and Renaissance Genealogy’in Journal of the History of Collections no. I (1989), p. 71.
4 Sherman E. Lee:“The Idea of an Art Museum”, Harper’s Magazine, Sept. 1986, p.76.
5 Carol Duncan: Civilizing Rituals: inside public art museums, New York: Routledge, 1995, p. 1.
1 David Murray: Museums, their History and their Use, Glasgow: James MacLehose and Sons, 1904, p.36.
2 E. Hooper-Greenhill: Museums and the Shaping of Knowledge, London: Routledge, 1992, p.88.
3关于北欧艺术品收藏情况可参看O. Impey and A. MacGregor (eds.): The Origins of Museums: The Cabinet of Curiosities in Sixtheenth and Seventeenth-century Europe, Oxford: Clarendon Press, 1985.
1 Thomas Dacosta Kaufmann:“Remarks on the Collections of Rudolf II: the Kunstkammer as a Form of Representatio”in Art Journal, Vol.38, No.1, 1978, p.21.
2哈布斯堡家族的收藏史参见Thomas D. Kaufmann:“From Treasury to Museum: The Collections of the Austrian Habsburgs”, in John Elsner, Roger Cardinal (eds.): The Cultures of Collecting, London: Reaktion Books, 1994, pp.137-154.
3 Jeffrey Abt:“The Origins of the Public Museum”, in Sharon Macdonald (ed.): A Companion to Museum Studies, Oxford &Victoria: Blackwell Publishing, 2006, p.122.另外参见李军:《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(一)》,《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(二)》《美术研究》,2008/2、3。
1 Max J. Friedl?nder: On Art and Connoisseurship, Boston: Beacon Press, 1960, p.145.
1参见Arthur MacGregor: Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to Nineteenth Century, New York and London: Yale University Press, 2007, p.60.
1参见Arthur MacGregor: Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to Nineteenth Century, New York and London: Yale University Press, 2007, p.61.
1参见W. R. Valentiner:“Scholarship in Museums: Personal Reminiscences”, College Art Journal, Vol.19, No.1, 1959, pp. 65-68.
1英文翻译为《论历史的用途与滥用》[The Use and Abuse of History],中文译本也以此为名。
2 [德]弗里德里希·尼采:《历史的用途与滥用》,陈涛周辉荣译,刘北成校,上海:上海人民出版社,2005,第1页。
3同上,第91-92页。
4转引自Francis Haskell: The Ephemeral Museum: old master paintings and the rise of the art exhibition, New Haven & London: Yale University Press, 2000, p.6.
1赛亚·伯林:《维柯与文化史》,载《扭曲的人性之才》,岳秀坤译,南京:译林出版社,2009,第51-53页。
Alan Wallach:“The Museum of Modern Art: The Past’s Future”, in Francis Frascina, Jonatha Harris(eds.): Art in Modern Culture: a Anthology of Critical Texts, London: Phaidon Press Limited, 1992, pp.282-291.
Alois Riegl:“The Modern Cult of Monuments: Its Character and Its Origin”, Oppositions, vol.25, 1982, pp.21-51.
Antonie Schnapper:“The King of France as Collector in the Seventeenth Century”, in
Journal of Interdisciplinary History, Vol.17, No,1, 1986, pp.185-202. Carmen Stonge:“Making Private Collections Public: Gustav Friedrich Waagen and the Royal Museum in Berlin”, Journal of the History of Collections, 1998 10(1):61-74.
Colin Trodd:“The Discipline of Pleasure; or How Art History Looks at the Art Museum”, Museum and Society, Vol. 1, 2003, pp.17-29.
Colin Trodd:“The discipline of pleasure; or, how art history looks at the art museum”, Museum and Society, No.1, 2003, pp.17-29.
David Carrier:“Art Museums, Old Paintings, and Our Knowledge of the Past”, History and Theory, Vol.40, No.2, 2001, pp.170-189.
Douglas Crimp:“The End of Art and the Origin of the Museum”, in Art Journal, Vol. 46, No. 4, 1987, pp.261-266.
E. H. Gombrich:“Should a museum be active?”in Museum, Vol.21, 1968, pp.79-82.
E. H. Gombrich:“The Early Medici as Patrons of Art”, in Norm and Form: Studies in the art of the Renaissance, Oxford: Phaidon Press Limited, 1966, pp.81-98.
Francis Haskell:“Museums and Their Enemies”, in Journal of Aesthetic Education, Vol.19, No.2, Special Issue: Art Museums and Education, 1985, pp.13-22.
Herbert Read:“The Museum and the Artist”, College Art Journal, Vol.13, No.4, 1954, pp.289-294.
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Sherman E. Lee:“The Idea of an Art Museum”in Harper’s Magazine, Sept., 1986, pp.76-79.Steven Moyano:“Quality vs. History: Schinkel's Altes Museum and Prussian Arts Policy”, in The Art Bulletin, Vol. 72, No. 4, 1990, pp.585-608.
“Still Too Many Exhibitions”, Burlington Magazine, Vol. 130, No. 1018, 1988, p.3.
Thomas Dacosta Kaufmann:“Remarks on the Collections of Rudolf II: the Kunstkammer as a Form of Representatio”in Art Journal, Vol.38, No.1, 1978, pp.22-28.
Vera L. Zolberg:“Conflicting Visions in American Art Museum”in Theory and Society, Vol. 10, No.1,1981, pp.103-125.
W. R. Valentiner:“Scholarship in Museums: Personal Reminiscences”, College Art Journal, Vol.19, No.1, 1959, pp.65-68.
Wolfgang Ernst:“Frames at Work: Museological Imagination and Historical Discourse in Neoclassical Britain”, in The Art Bulletin, Vol.75, No.3, 1993, pp. 481-498.
曹意强:《美术博物馆的定义与国际学术现状》,《新美术》,2008/1
万木春:《早期梅迪奇家族艺术收藏研究》,载于范景中、曹意强主编:《艺术史
与观念史》(卷I),南京:南京师范大学出版社,2006,第267-304页。
丁宁:《艺术博物馆:文化表征的特殊空间》,《浙江社会科学》,2000/1
李军:《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(一)》,《美术研究》,2008/2
李军:《佛罗伦萨“乌菲齐画廊”与美术博物馆生成考(二)》,《美术研究》,2008/3
李军:《美术学院陈列馆与沙龙:博物馆展览制度考(上)》,《美术研究》,2009/1
李军:《美术学院陈列馆与沙龙:博物馆展览制度考(下)》,《美术研究》,2009/2
Alan Wallach: Exhibiting Contradiction: Essays on the Art Museum in the United States, Amherst: University of Massachusetts Press, 1998.
Alma S. Wittlin: The Museum: Its History and Its Tasks in Education, London: Routledge & Kegan Paul, 1949.
Andrew McClellan (ed.): Art and its Publics: Museum Studies at the Millennium, Oxford & Victoria: Blackwell Publishing, 2003.
Andrew McClellan: Inventing the Louvre: Art, Politics, and the Origins of the Modern Museum in Eighteenth-century Paris, New York: Cambridge University Press, 1994.
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