E.H. Gombrich The Story of Art
Introduction, 1,2,3,
Introduction
: There really is no such things as Art. There are only artists.
1. Strange Beginings
: but their ideas. It is important to realize this from the outset, because the whole story of art is not a story of progress in technical proficiency, but a story of changing ideas and requirements. There is increasing evidence that under certain conditions tribal artists can produce work which is just as correct in the rendering of nature as the most skilful work by a Western master.
correct 하다 right 하다는 것의 의미는 무엇인가?
2. The Egyptian artist began his work by drawing a network of straight lines on the wall, and he distributed his figures with great care along these lines. And yet all this geometrical sense of order did not prevent him from observing the details of nature with amazing accuracy
이집트 미술의 온전함이란 무엇인가? 종교적인 완전함에 대한 표현인가?
3. Every Greek sculptor wanted to know how he was to represent a particular body. The Egyptions had based their art on knowledge. The Greeks began to use their eyes.
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He was no longer afraid of showing only a small part of Achilles' left hand, the rest being hidden behind the shoulder. He no longer thought that everything he knew to be there must also be shown.
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We also realize that the lessons of Egyptian art had not simply been discarded and thrown overboard.
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They still loved firm outlines and balanced design. They were far from trying to copy any casual glimps of nature as they saw it. The old formula, the type of human form as it had developed in all these centuries, was still their starting-point. Only they no longer considered it sacred in every detail.
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But we feel that the greateness the majestic calm and strength which belong to Greek sculpture, are also due to this observance of ancient rules.
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They should represent the 'working of the soul' by accurately observing the way 'feeling affect the body in action'.
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Greek artists had indeed mastered the means of conveying something of the unspoken feelings set up between people.
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The Greek relief has shed all these awkward limitations, but it has retained the lucidity and beauty of the arrangement, which is no longer geometrical and angular but free and relaxed.
그리스 미술은 이집트 미술의 온전함이 어떻게 바뀌었는가?
종교에서 사람으로의 관점의 변화와 감정의 표현.
