Учебно-методическое пособие для студентов специальности «Дизайн»
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Sugonyako
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The term ‘style’ is used for a coherence of qualities in periods or people. This is a provisional definition for one of the most difficult concepts in the lexicon of art, and one of the chief areas of debate in aesthetics and art history. Each of the component terms of style has been disputed, and style itself has been rejected on various grounds; yet it remains inseparable from working concepts of art and its history. Its difficulty is easily demonstrated by compar- ing definitions. The ‘provisional definition’ above may be set beside others: ‘the constant form – and sometimes the constant elements, qualities, and ex- pression – in the art of an individual or a group’ (Meyer Schapiro); ‘any dis- tinctive ... way in which an act is performed’ (Ernst Gombrich); ‘non- durational, synchronous situations composed of related events’ (George Kubler); ‘a distinctive manner or mode’ (Jules David Prown). Style has a complex etymology, which has been pressed into use for vari- ous purposes. Its use in modern European languages derives principally from Latin stilus, originally denoting the needle used to write on wax-coated tablets. The term itself was first applied to writing in the 1 st century AD by Horace and Virgil. Another Latin usage, largely disregarded today, is Vitruvius’ use of the Greek stylos (column) to denote the proportional differences between the orders of architecture. This Greek term, which influenced the English spelling of the term in the 18 th century, has been proposed as a complementary etymology in an attempt to give style a double origin in spatial (stylos) and temporal (stilus) forms. Another complication in describing the history of the term’s usage is that understandings of it have diverged: it may be taken to mean ‘ideal’. Style has sometimes been assumed to mean ‘ancient style’, ‘decadent style’ or ‘aca- demic style’. A full history of style would have to show how these concepts are related. The use of style in the visual arts has a simpler history. It developed chiefly from Johann Joachim Winckelmann’s “Geschichte der Kunst des Al- terhums” (1764), which applies the term to ancient Greek art. Winckelmann made a step-by-step parallel between Greek art and the Renaissance, paving the way for similar analyses of other periods. The fact that Winckelmann was concerned with ancient Greece is not incidental to the concept of style itself, because style periods subsequently have been characterized either by their de- 137 pendence on or deviation from a Classical norm, and the ultimate referent of that norm has remained ancient Greek art. It is often remarked that many style periods were coined as pejorative terms. This is a reminder that style periods can never be neutral, and they always carry hints of their negative origins as жүктеу/скачать 0,79 Mb. Достарыңызбен бөлісу:
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