| 罗兰·巴尔特:“作者之死”,《符号学文学论文集》,赵毅衡编。天津:百花文艺出版社,2004年。[Barthes,Roland."The Death of The Author."Selected Essays on Literary Semiotics.Ed.Zhao Yiheng.Tianjin:Baihua Literature and Art Publishing House,2004.] Beardsley,Monroe C.."Notes on Forgery."The Forger's Art:Forgery and the Philosophy of Art.Ed.Denis Dutton.Berkeley:University of California Press,1983. 瓦尔特·本雅明:《迎向灵光消逝的年代:本雅明论艺术》,许绮玲林志明译。桂林:广西师范大学出版社,2004年。[Benjamin,Walter.The Work of Art in the Age of Mechanical Reproduction.Trans.Xu Qiling and Lin Zhiming.Guilin;Guangxi Normal University Press,2004.] 彼得·比格尔:《先锋派理论》,高建平译。北京:商务印书馆,2005年。[B(u|¨)rger,Peter.Theory of the Avant-Garde.Trans.Gao Jianping.Beijing:The Commercial Press,2005.] 阿瑟·丹托:《寻常物的嬗变——一种关于艺术的哲学》,陈岸瑛译。南京:江苏人民出版社,2012年。[Danto,Arthur C..The Transfiguration of the Commonplace-.A Philosophy of Art.Trans.Chen Anying.Nanjing:Jiangsu People's Publishing House,2012.] ——."The Artworld."Aesthetics:A Critical Anthology.Eds.George Dickie and R.J.Sclafani.New York:St.Martin's Press,1977. ——."Artworks and Real Things."Aesthetics:A Critical Anthology.Eds.George Dickie and R.J.Sclafani.New York:St.Martin's Press,1977. Dickie,George.Art and the Aesthetic:An Institutional Analysis.London:Cornell University Press,1974. 米歇尔·福柯:“什么是作者?”,《符号学文学论文集》,赵毅衡编选。天津:百花文艺出版社,2004年。[Foucault,Michel."What is the Author?"Selected Essays on Literary Semiotics.Ed.Zhao Yiheng.Tianjin:Baihua Literature and Art Publishing House,2004.] 高建平:《西方美学的现代历程》。安徽教育出版社,2014年。[Gao,Jianping,The Modernization of Western Aesthetics.Hefei:Anhui Education Press,2014] 贡布里希,《艺术的故事》,范景中译。南宁:广西美术出版社,2014年。[Gombrich,E.H..The Story of Art.Trans.Fan Jingzhong.Nanning:Guangxi Fine Arts Publishing House,2014.] 纳尔逊·古德曼:《艺术的语言:通往符号理论的道路》,彭锋译。北京:北京大学出版社,2013年。[Goodman,Nelson.Languages of Art:An Approach to a Theory of Symbols.Trans.Peng Feng.Beijing:Peking University Press,2013.] 康德:《判断力批判》,邓晓芒译。北京:人民出版社,2002年。[Kant,Immanuel.The Critique of Judgment.Trans.Deng Xiaomang.Beijing:The People Press,2002.] Kulka,Tomas."The Artistic and Aesthetic Status of Forgeries."Leonardo.Vol.15,No.2(Spring,1982):115-17. Lenain,Thierry.Art Forgery:The History of a Modern Obsession.London:Reaktion Books,2011. Lessing,Alfred."What Is Wrong with a Forgery?"The Forger's Art:Forgery and the Philosophy of Art.Ed.Denis Dutton.Berkeley:University of California Press,1983. 李三达:“从赝品到复制品:消逝的艺术本真性”,《艺术世界》299(2015):89—104。[Li,Sanda."From Forgery to Reproduction:the Vanishing Artistic Authenticity."Art World 299(2015):89-104.] Radn?ti,Sandor.The Fake:Forgery and Its Place in Art.Trans.Ervin Dunai.Lanham:Rowman and Littlefield Publishers.1999. 王峰:《美学语法:后期维特根斯坦的美学与艺术思想》。北京:北京大学出版社,2015年。[Wang,Feng.Aesthetic Grammar:Aesthetics and Art Ideas of Wittgenstein's Late Thought.Beijing:Peking University Press,2015.] Wemess,Hope B.."Han van Meegeren fecit."The Forger's Art:Forgery and the Philosophy of Art.Ed.Denis Dutton.Berkeley:University of California Press,1983. (1)以马忤斯的晚餐在西方宗教画里是一个常见题材,讲述的是复活后的基督和门徒在以马忤斯相遇,并共进晚餐的故事。卡拉瓦乔和伦勃朗都创作过这个题材的画作。研究者对米格伦的这幅作品的命名不尽相同,大致有《以马忤斯的重逢》(Meeting at Emmaus)、《以马忤斯的门徒》(Disciples at Emmaas)、《基督在以马忤斯》(Christ at Emmaus),以及本文所用的《以马忤斯的晚餐》(The Supper at Emmaus)。 (2)本文在最普遍的意义上使用艺术体制这个概念,即艺术是独立于其他社会体制的一个子系统,它不仅包括艺术生产性和分配性的机构,如艺术学校、博物馆、画廊等,也涵盖流行于特定的时期的、决定着艺术创作、接受和欣赏的观念和思想。 (3)克里斯特勒在《现代艺术体系》一文中,指出“艺术”或“美的艺术”通常指的仅是视觉艺术,但是从广义上说,“艺术”包括五种主要的形式:绘画、雕塑、建筑、音乐和诗歌。参见"The Modem System of the Arts:A Study in the History of Aesthetics".Journal of the History of Ideas,Vol.12,No.4(Oct.,1951).本文所辨析的主题为艺术赝品,使用的“艺术”概念是狭义上的,即指视觉艺术,主要以绘画为主。 (4)参见Sandor Radnoti,The Fake:Forgery and Its Place in Art,trans.Ervin Dunai,Rowman&Littlefield Publishers,1999,47. (5)参见Paul Oscar Kristeller."The Modem System of the Arts:A Study in the History of Aesthetics",Journal of the History of Ideas 12.4(1951):497. |
