艺术的故事读后感【精彩6篇】

读后感是指读了一本书，一篇文章，一段话，几句名言，一段音乐，或者一段视频后，把具体感受和得到的启示写成的文章。这次漂亮的小编为您带来了艺术的故事读后感【精彩6篇】，如果对您有一些参考与帮助，请分享给最好的朋友。

内容导航

《艺术的故事》读后感 篇1艺术的故事读后感 篇2《艺术的故事》读后感 篇3《艺术的故事》读后感 篇4《艺术的故事》读后感 篇5《艺术的故事》读后感 篇6

《艺术的故事》读后感 篇1

读了这本书《艺术的故事》后，感觉它为我打开了一个崭新的世界，这也是我们学艺术讨论最多的一个问题——创新问题。《艺术的故事》从头至尾就是讲艺术怎样创新，艺术的风格怎样变化，一个新的风格怎样取代旧的风格。旧的风格是不是就完全死亡呢，不是，它还会有死灰复燃的时候。这本书讲了一个传统不断变化、不断延续，一个艺术创新的问题，就这点而言最适合学艺术来读的。

After reading the book "The Story of Art", I feel that it has opened a new world for me, which is also one of the most discussed issues in our study of art - innovation. From beginning to end, The Story of Art is about how to innovate art, how to change the style of art, and how to replace the old style with a new style. Is the old style dead? No, it will come back to life. This book talks about a tradition that is constantly changing and continuing, and a problem of artistic innovation. In this regard, it is most suitable for learning art.

《艺术的故事》顾名思义不是一部高深的学术著作，作者开宗明义：本书打算奉献给那些需要对一个陌生而迷人的领域略知门径的读者。因此作者的任务是用浅近的语言，让读者用崭新的眼光去观看艺术作品。简而言之，这是一部通过艺术史来帮助人们欣赏艺术的通俗读物。

As its name suggests, The Story of Art is not a profound academic work. The author makes it clear that the book is intended to be dedicated to those readers who need to know something about a strange and fascinating field. Therefore, the author's task is to use simple language to let readers watch works of art with new eyes. In short, this is a popular book that helps people appreciate art through art history.

记得德国艺术史家温克尔曼在观看一件巴洛克雕塑时说的第一句话就是：“这是什么样的轮廓啊！”显然，艺术欣赏的首要问题就是形式问题。这也使我们想到了另一位伟大的艺术史家、形式分析的奠基者沃尔夫林，他在《艺术史的基本概念》中曾对形式分析的问题提出了五对概念，即线描性和绘画性、平面和深度、封闭形式和开放形式、多样性和同一性、明晰和朦胧。这五对概念影响深远，成了后来讲授艺术形式的出发点。然而在《艺术的故事》中，我们却看到了作者更简洁的手法，他只用构图设计的平面性和忠实自然的立体性这一对概念就完成了沃尔夫林五对概念所起的作用。特别值得注意的是，这种分析法也是作者贯穿全书的一个重要观点，我们在阅读时将不难发现。

I remember the first words of German art historian Winckelman when watching a baroque sculpture: "What kind of outline is this?" Obviously, the first problem of art appreciation is the problem of form. This also reminds us of another great art historian and founder of form analysis, Wolflin. In his Basic Concepts of Art History, he put forward five pairs of concepts on the issue of form analysis, namely, line drawing and painting, plane and depth, closed form and open form, diversity and identity, clarity and obscurity. These five pairs of concepts had a profound impact and became the starting point for teaching art forms later. However, in the Story of Art, we can see the author's more concise approach. He only used the concept of the flatness of the composition design and the faithful natural three-dimensional to complete the role of the five pairs of concepts of Wolflyn. It is particularly noteworthy that this analysis is also an important point of view of the author throughout the book, which we will find easily when reading.

本书作者的另一个重要思想，即作者在前言中所交代的一个观点：一方面，在艺术问题的解决上，某个问题的解决方案无论怎样激动人心，都毫无例外的在别处激起了新问题；另一方面，艺术发展在一个方面有什么所得或进步，都必然会在另一个方面有所失，主观的进步概念无论多么重要也不等同于客观的艺术价值的提高。正是由于这些原因，《艺术的故事》讲述的是各种传统不断迂回、不断改变的`故事，每一件作品在这故事中都既回顾过去又导向未来，因为在这个故事中，哪一方面也不如这样的景观奇妙：即一条有生命的传统锁链还继续把当前的艺术跟金字塔时代的艺术联系在一起。换句话说，“艺术为何会有一部历史”？作者以其特有的方式给出了回答。因此，如果说《艺术的故事》有一种艺术史的模式的话，那就是艺术问题史的模式。它不仅不同于艺术进步史模式，而且尤其反对那种已成了陈词烂调的艺术是时代精神表现的模式。正是在讨论艺术问题的提出与解决时，作者建立了一个社会情境的模式，这个模式的主要内容就是艺术家所面临的问题情境。难能可贵的是，作者用简洁的语言把手中的问题表达得如此清楚透彻，真是一个了不起的贡献。本书不因用语浅近而降低理论的深度，正所谓“意深而文明”，使其写作本身就成了一种艺术。

Another important thought of the author of this book, that is, a view given by the author in the foreword: on the one hand, no matter how exciting the solution to a problem is, it will undoubtedly provoke new problems elsewhere in the solution of artistic problems; On the other hand, any gains or progress made in the development of art on one hand is bound to be lost on the other. No matter how important the concept of subjective progress is, it is not equal to the improvement of objective artistic value. For these reasons, The Story of Art tells the story of various traditions that are constantly circuitous and changing. Every work in this story both looks back on the past and leads to the future, because in this story, it is not as wonderful as this landscape in any way: that is, a living traditional chain continues to link the current art with the art of the pyramid era. In other words, "Why does art have a history"? The author gives the answer in his own way. Therefore, if there is a model of art history in Art Story, it is the model of art problem history. It is not only different from the mode of art progress history, but also opposes the mode of expression of the spirit of the times that art has become a cliche. It is precisely when discussing the proposal and solution of artistic problems that the author establishes a model of social situation, the main content of which is the problem situation faced by artists. It is commendable that the author expresses the problems in his hands so clearly and thoroughly with concise language, which is really a great contribution. This book does not reduce the depth of theory because of the shallow language. It is the so-called "profound and civilized", which makes its writing itself an art.

西文艺术史的研究，从作为一门学科算起，已有一百多年的历史。它的研究重镇在20世纪上半叶之前，主要集中在德语国家，所谓的艺术史的语言就是德语的语言。从20世纪初，艺术史研究中出现了一种趋势，即要为艺术史找到一种科学基础，于是学者纷纷把目光转向了心理学，并产生了很多心理学式的艺术史研究理论。其中有一种可称为所见与所知的理论。这种理论认为历代艺术家坚持不懈地与妨碍他们精确描绘视觉世界的知识进行斗争。知道事物实际如何，例如知道人的面部是以鼻子为中轴线两边对称，就会妨碍人们对侧面像的描绘，要获得纯粹的视觉艺术就需要不带成见地观看这个世界，就是这场与知识的破坏力量的斗争，以及要恢复“纯眼”的决心，使艺术从埃及的完全“概念性的”艺术走向了印象主义的完全“知觉性的”艺术。

The study of the history of Western art has a history of more than 100 years as a discipline. Its research center was before the first half of the 20th century, mainly concentrated in German countries. The so-called language of art history is the German language. Since the beginning of the 20th century, there has been a trend in the study of art history, that is, to find a scientific basis for art history, so scholars have turned their attention to psychology, and produced many psychological theories of art history research. There is a theory that can be called seeing and knowing. This theory holds that artists of all ages persevered in their struggle against the knowledge that prevented them from accurately describing the visual world. Knowing how things are actually, for example, knowing that people's faces are symmetrical on both sides with the nose as the central axis, will hinder people's portrayal of profile images. To obtain pure visual art, we need to view the world without prejudice, that is, this struggle against the destructive power of knowledge, and the determination to restore "pure eyes", It makes art move from the completely "conceptual" art of Egypt to the completely "perceptual" art of impressionism.

艺术的故事读后感 篇2

接触《艺术的故事》这本书是挺意外的，因为研究生考试开始选的学校参考书目就有这本书。看之前总觉得像在应付考试，细读下来却对这本书有了些许敬意。

It is quite unexpected to contact the book "Art Story", because the school reference book selected at the beginning of the postgraduate examination has this book. Before reading, I always felt like I was preparing for an exam, but after careful reading, I paid a little respect to this book.

《艺术的故事》是贡布里希爵士编著的，书中概括地叙述了从最早的洞窟绘画到20世纪前半叶的实验艺术发展历程。里面的内容很多，绘画、雕塑、建筑均有所涉及。倘若是其它艺术史类的著作，六七百页厚的书籍细看下来多少是需要些勇气的。还好本书通俗易懂，简明晓畅的语言就能表达严肃的题目。在这里若让我概述一下每一个章节多少显得有些不合实际。因此，我更愿意来总结一下诸如“透视的发现和在绘画中的应用”这样一个小的脉络。

The Story of Art was compiled by Sir Gombrich. It describes the development of experimental art from the earliest cave painting to the first half of the 20th century. There are many contents involved in painting, sculpture and architecture. If it is other works of art history, it takes some courage to read 600 or 700 pages of books carefully. Fortunately, this book is easy to understand, and simple and clear language can express serious topics. It is somewhat unrealistic for me to summarize each chapter here. Therefore, I would like to summarize such a small context as "the discovery of perspective and its application in painting".

“透视”这个词在我们看来并不陌生。甚至我们第一天学习美术画个正方体老师们就会给我们讲透视。可能在今天的人看来，利用透视营造真实的空间显得那么司空见惯，可在这些东西刚被发现时当时的人们该是多么惊愕啊！

The word "perspective" is not strange to us. Even the first day we learned to draw a cube of art, the teachers would tell us about perspective. It may seem common for people today to use perspective to create real space, but people at that time were shocked when these things were just discovered!

《艺术的故事》这本书在3、6、10、12、13章中涉及到过透视问题。我大概有这样一个脉络，透视的发现和发展经过了4个阶段。

The book "The Story of Art" deals with the problem of over perspective in chapters 3, 6, 10, 12 and 13. I probably have such a context that the discovery and development of perspective have gone through four stages.

一，短缩法的发现和运用

1、 Discovery and Application of Shortening Method

透视在没有被明确的提出之前被称为短缩法。最初发现短缩法是在比公元前500年稍早一些的一个希腊花瓶上。画的是辞行出征的战士，右脚仍然是继承了古埃及的“保险”画法，但是左脚已经是经过透视短缩了。我们看到5个脚趾好像一排五个小圆圈。也许这么小的一个发现不值得我们这么兴奋，但实际上这意味着古老的艺术已经死亡而被埋葬了。后来的希腊化时期和拜占庭时期的画中也出现过短缩法。当时的艺术家是把远处的东西画的很小，近处的东西画的很大。可是远处的物体有规律的缩小这条法则在古典文化时期还没有被采用。

Perspective is called abridgement before it is explicitly proposed. Shortening was first discovered on a Greek vase earlier than 500 BC. The painting shows the soldiers leaving for the war. The right foot still inherits the "insurance" painting method of ancient Egypt, but the left foot has been shortened through perspective. We see five toes like a row of five small circles. Perhaps such a small discovery is not worth our excitement, but in fact it means that ancient art has died and been buried. In the later Hellenistic and Byzantine paintings, there was also shortening. At that time, artists painted small objects in the distance and large objects in the vicinity. However, the rule that distant objects shrink regularly has not been adopted in the period of classical culture.

二、短缩法再次被重视

2、 Shortening method is valued again

乔托所画的《“信德”的拟人形象》中，我们看到了手臂的短缩法，脸部和颈部的明暗造型，流动的衣褶中深深的阴影。像这样的东西已经有1000多年之久完全不画了。乔托重新发现了在平面上造成深度错觉的艺术。

In the anthropomorphic image of "Sindh" painted by Giotto, we can see the shortening of the arms, the light and dark modeling of the face and neck, and the deep shadows in the flowing pleats. Such things have not been painted for more than 1000 years. Giotto rediscovered the art of creating illusion of depth on the plane.

三、透视法的提出和应用

3、 The Proposition and Application of Perspective

到了15世纪初期，布鲁内莱斯基发现了“透视法”。我们已经看到，尽管希腊人通晓短缩法、希腊化时期的画家精于造成景深的错觉感，但是连他们也不知道物体在离开我们远去时体积看起来缩小是遵循什么数学法则。马萨乔迅速掌握了这种透视手段并体现在画中。在他的《三位一体以及圣母、圣约翰和供养人》这幅壁画中，墙面好像被凿了一个洞。通过洞口人们可以窥视到里面的一座布鲁内莱斯基风格的新型葬仪礼拜堂。

In the early 15th century, Brunelleschi discovered "perspective". We have seen that, although the Greeks were proficient in shortening and the painters of the Hellenistic period were skilled in creating the illusion of depth of field, they did not even know what mathematical rules the volume of objects seemed to shrink when they left us. Masaccio quickly grasped this perspective and embodied it in the painting. In his mural painting "The Trinity and the Virgin, St. John and the Provider", it seems that a hole has been cut into the wall. Through the entrance, people can peek into a new Brunelleschi style burial chapel.

到了15世纪后期，安杰利科修士的一幅《圣母领报》中，我们立刻可以看出透视技艺对他来说毫无困难。乌切洛更是全神贯注于透视研究之中。通过他所热爱的透视技艺试图构成一个真实的舞台，使他的人物在那个舞台上有立体感、有真实感。虽然乌切洛还没有学会怎样使用光线、明暗和大气来修润严格透视画法的刺目的轮廓。但他也体验到了透视法给他带来的新奇效果。

In the late 15th century, in the Annunciation of the Virgin of Angelico, we can immediately see that the art of perspective was not difficult for him. Uchello was even more engrossed in the perspective study. Through his beloved perspective skills, he tries to form a real stage, so that his characters have a three-dimensional sense and a sense of reality on that stage. Although Uccello has not yet learned how to use light, shade and atmosphere to smooth the harsh outline of strict perspective painting. But he also experienced the novel effect of perspective.

四、透视法的继承和发展

4、 Inheritance and Development of Perspective

曼泰尼亚沿着马萨乔的路子走了下去。他的人物像马萨乔的人物那样动人，那样有雕塑感。曼泰尼亚意在使用透视法创造一个舞台，使他的人物好像立体实物一样站在上面活动。他好像一个高明的舞台监督那样，布列人物来表达这一瞬间的意义和事件的过程。

Mantegia walked down Masaccio's path. His characters are as moving and sculptural as those of Masaccio. Mantynia intended to use perspective to create a stage where his characters would stand on it like three-dimensional objects. Like a brilliant stage supervisor, he arranged characters to express the meaning of the moment and the process of the event.

当然，对透视的探索仍在继续，只是艺术家遇到的问题更多的体现在其它方面了。《艺术的故事》这本书中涉及较少。希望以后能看更多的书籍，进一步总结透视发展的脉络。

Of course, the exploration of perspective continues, but the problems encountered by artists are more reflected in other aspects. The story of art is less involved in this book. I hope I can read more books in the future to further summarize the context of perspective development.

《艺术的故事》读后感 篇3

老师给我们推荐了很多艺术类的书，其中有一本叫《艺术的故事》，这本书很强大，被誉为艺术中的圣经。据说它被译成30种文字。把成千上万的人引入了艺术的殿堂。作者贡布里希是当代最有洞见的美术史家，也是最具独创性的思想家之一。

The teacher recommended many art books to us. One of them is called The Story of Art. This book is very powerful and is known as the Bible in art. It is said that it has been translated into 30 languages. It has introduced thousands of people into the palace of art. Gombrich is the most insightful art historian and one of the most original thinkers.

读这本书的时候，我怀着毕恭毕敬的心情，本来计划用一个月的时间把这本无比厚的书给读完。因为我是一个没有耐性的人，以前看书只要超过400页我都没有看完，我一直以来都没有读书的习惯，看着那些密密麻麻的字，总是耐不下心来，把一本书给读完，更别说从中找到乐趣了。但是，这本书好像有巨大的魔力，每天早上都催促着我起床，把我呼唤到图书馆，那丰富的图片和那有趣的故事强烈的吸引着我，读那么厚的一本书突然变成了我的一种享受，每次读《艺术的故事》这本书就让我感觉眼前打开了一个崭新的世界，总会有一种喜悦的心情。其实能够让我这样着迷的是那些细节的阐述。《蒙娜丽莎》和《最后的晚餐》是大家最熟悉不过的了，一开始的时候，觉得不就是画了12个人而已嘛，但是读了《艺术的故事》关于《蒙娜丽莎》和《最后的晚餐》的描写，虽然篇幅不是很长，但会觉得妙不可言。引人注目的是蒙娜丽莎看起来栩栩如生，她真像是正在看着我们，而且她有着自己的想法。就在这里，作者水到渠成的开始介绍“渐隐法”并且很贴心的在旁边附上衣服蒙娜丽莎面部的大图，可以让我们更清楚的明白这个画法到底有什么独特之处。更让我佩服的是，凡是有可以做比较的参照物，作者都不会忘记表明这个参照物到底是在书本上的第几页，具体是什么地方可以对比或者反衬，我想这就是所谓的举一反三吧。这不仅是一个学习的方法，更是一种学习的态度。

When I read this book, I planned to finish reading this incomparably thick book in one month with great respect. Because I am an impatient person. I never finished reading a book for more than 400 pages. I have never had the habit of reading. I can't bear to read a book when I look at the dense words, let alone find fun from it. However, this book seems to have great magic power. Every morning, it urges me to get up and call me to the library. The rich pictures and interesting stories strongly attract me. Reading such a thick book suddenly becomes a kind of enjoyment for me. Every time I read the book The Past of Art, I feel that I have opened a new world and always have a happy mood. In fact, what fascinates me is the elaboration of those details. The Mona Lisa and The Last Supper are the most familiar. At the beginning, I thought that there were only 12 people painted. But after reading the description of the Mona Lisa and The Last Supper in The Story of Art, although they are not very long, they will feel wonderful. What is striking is that Mona Lisa looks lifelike, she really seems to be watching us, and she has her own ideas. Here, the author begins to introduce the "Fading Method" and attaches a large picture of Mona Lisa's face beside it, which can help us understand more clearly what is unique about this painting method. What makes me admire even more is that the author will never forget to indicate which page of the book the reference is and where it can be compared or contrasted. I think this is the so-called drawing inferences from one instance to another. This is not only a learning method, but also a learning attitude.

在前言我被震撼了，看到了很多实话。作者骇人听闻地说：“现实中根本没有艺术这种东西，只有艺术家而已。”他还说艺术的故事是“各种传统不断迂回，不断改变的故事”每一件作品在这故事中都既回顾过去又导向未来，作者谈到了原始人和古埃及人是画他们的所知道的东西，而印象主义者却是想画他们所见的东西。作者既不是简单地罗列史实，也不是用一些抽象难懂的“主义”来概括美术史，而是描述了一系列的“问题情境”，他认为艺术的发展是在艺术家不断解决由社会和艺术传统自身所提出的问题过程中形成的。

In the preface, I was shocked and saw a lot of truth. The author said horribly: "There is no such thing as art in reality, only artists." He also said that the story of art is "the story of various traditions that are constantly circuitous and changing". Every work in this story both looks back on the past and leads to the future. The author talked about that primitive people and ancient Egyptians painted what they knew, while impressionists wanted to paint what they saw. The author neither simply lists the historical facts nor generalizes the history of art with some abstract and incomprehensible "doctrines", but describes a series of "problem situations". He believes that the development of art is formed in the process of artists continuously solving the problems raised by society and art tradition.

读完这么一本厚厚的书，觉得《艺术的故事》不仅教给人们欣赏艺术，而且它还让人们欣赏了知识和智慧的魅力。所以，这本书值得我们去读。

After reading such a thick book, I feel that the Story of Art not only teaches people to appreciate art, but also allows people to appreciate the charm of knowledge and wisdom. Therefore, this book is worth reading.

《艺术的故事》读后感 篇4

“我们对艺术的起源跟对语言的产生一样不甚了了。”当然，这里的艺术主要指视觉艺术以及雕塑、建筑。

"We do not know the origin of art as well as the generation of language." Of course, the art here mainly refers to visual art, sculpture and architecture.

艺术是什么？如果只是画画画、塑塑像、编编图案、盖盖房子，那么艺术的起源可以追溯到太古；如果仅把艺术当作用于欣赏需要保护的奢侈品，那么艺术的历史应该并不长。

What is art? If only painting, sculpture, weaving patterns and building houses, then the origin of art can be traced back to ancient times; If art is only used to appreciate luxuries that need to be protected, then the history of art should not be long.

姑且放下这个令人头疼的问题，换个角度，简单的解构已有的被承认的艺术品，从艺术品的基本属性入手。每件艺术品或多或少都有实用性和美，这两种属性我现在认为应该是负相关性的，从原始艺术品到现代艺术品的特征可以佐证。原始艺术的第一标准必然是实用，因为当时的生产力极为低下。以建筑为例，修筑房屋首要的是构筑一个遮风挡雨的休憩之所，然后才会考虑看起来顺不顺眼，即所谓的合不合适。你建的大家一看就喜欢再好不过，但是如果你审美有限，有个窝也凑活。所以就原始艺术而言，实用性是第一属性。

Let's put aside this headache, and from another perspective, simply deconstruct the existing recognized works of art, starting with the basic attributes of works of art. Every work of art has more or less practicality and beauty, which I now think should be negatively correlated, as evidenced by the characteristics of original works of art and modern works of art. The first standard of primitive art must be practicality, because the productivity was extremely low at that time. Taking architecture as an example, the first thing to build a house is to build a shelter from wind and rain, and then consider whether it looks good or not, that is, whether it is suitable or not. It's great to see what you've built, but if your aesthetic is limited, you can make a living with a nest. So as far as primitive art is concerned, practicality is the first attribute.

原始艺术的实用属性满足两个方面——自然的和超自然的。比如建房躲避自然，雕像祈求神灵。满足超自然的方面，影响深远，至今保留在我们的日常生活中，有趣的是我们还不怎么能知觉。举个例子，如果有人拿着你心爱人的照片，当你面，用剪刀戳照片里的人的眼睛，你会有什么感觉？我会暴怒，我会有一种我心爱人也受伤的感觉，即使我知道那只是照片而已。艺术品能够实现超自然目的的原因，我认为是我们错误的将世界的联系无规律化，似乎只要能建立联系就能影响另一方，无论这种联系有多牵强，长得像能联系，名字一致能联系，拿点原主的东西也能联系，只有想不到没有联系不到。本着这样的精神，原始人创作了艺术史上极为重要的几幅洞穴壁画——西班牙Altamira洞窟里的野牛和法国Lascaux洞穴里的马，他们相信将马和野牛画出来，然后鞭打折磨壁画，外面的马和野牛也会受到影响，以期收获满满。

The practical attributes of primitive art meet two aspects - natural and supernatural. For example, building houses to avoid nature and statues to pray for gods. The supernatural aspect of satisfaction has a profound impact and has been retained in our daily life. Interestingly, we are not aware of it yet. For example, how would you feel if someone took a photo of your beloved and poked the person in the photo's eyes with scissors in your face? I will be angry, I will have a feeling that my beloved is also hurt, even if I know that it is just a photo. The reason why artworks can achieve supernatural purposes, I think, is that we mistakenly make the connection of the world irregular. It seems that as long as we can establish a connection, it can affect the other party. No matter how farfetched the connection is, it looks like it can be connected, its name can be connected, and it can also be connected with the east and west of the original owner. It is only unexpected that it can not be connected. In this spirit, the primitive people created several cave murals of great importance in the art history -- the bison in the Altamira cave in Spain and the horse in the LASCAUX cave in France. They believed that if they painted the horses and bison, and then whipped and tortured the murals, the horses and bison outside would also be affected, hoping to harvest a lot.

所以，原始艺术家的首要任务，不是作品美不美观，而是作品有不有效。能不能让部落里所有人都认同你与某种东西建立了联系，并且这种联系是经典的，是某种约定俗成下的，是成败与否的关键。情形类似于春节时的春联，春联联系的是美好的愿景，大家约定必须用红纸来写，用其他颜色的纸写就不是春联，就不能建立联系。那么原始艺术家还有创作空间么？有！继续以春联为例，在红纸的基础上，各家可以选择汉字的颜色，一般是金的或黑的，可以选择汉字的字体，楷、隶、行、草······还可以选择背景花纹，在不影响主体字的情况下，选择红纸的花纹，选择空白地方的填充图案等等。每家的春联都能代表各自的审美，而这种审美，就是原始艺术家的创作空间。

Therefore, the primary task of the original artist is not whether the work is beautiful or not, but whether the work is effective or not. Whether all the people in the tribe can agree that you have established a connection with something, and that this connection is classic, is a convention, and is the key to success or failure. The situation is similar to the Spring Festival couplets during the Spring Festival. The Spring Festival couplets are associated with a good vision. It is agreed that they must be written on red paper. If they are written on paper of other colors, they are not Spring Festival couplets and cannot be connected. Do primitive artists still have room for creation? have Taking the Spring Festival couplets as an example, on the basis of red paper, each family can choose the color of Chinese characters, generally gold or black, the font of Chinese characters, regular script, clerical script, line, grass, background pattern, pattern of red paper, pattern of blank space, etc. without affecting the main characters. Each Spring Festival couplet can represent its own aesthetic, which is the creative space of the original artists.

提起原始艺术，特别是当看到“原始”两字时，总让人联想到长相寒碜，制作简单，恨不得就像《洛书》、《河图》一样几根线就能搞定的东西。这应该能代表原始时期的风格，但绝不能代表原始时期的技艺，原始时期的艺术家用简易的工具足以制作一件自然主义的作品，比如尼日利亚伊费的青铜黑人头像，栩栩如生（这才是栩栩如生和教科书里说某些器皿栩栩如生完全不同）；比如美国西北岸印第安海达部落酋长的房子，刻画的精细程度和《三国立志传三》有一拼。但是为什么我们看到的整体风格显得如此生疏？我们从观念的角度来解释，原始艺术家认为没必要，或者说描绘得太清晰了不利于脑补，构建不了联系；亦或可以从符号的方面入手，墨西哥阿兹特克时代的Tlaloc，就是以响尾蛇作符号拼凑成的，据阿城老师考证，中国的饕餮纹，可能是青龙和天极神两大符号重合的产物，符号化的东西无法自然起来，所以长成那样情有可原。

When we talk about primitive art, especially when we see the word "primitive", we always think of something that looks shabby and is simple to make, and we wish it could be done with a few lines like Luoshu and Hetu. This should represent the style of the primitive period, but it should not represent the skills of the primitive period. The artists in the primitive period can make a naturalistic work with simple tools, such as the bronze black head portrait of Iffe, Nigeria, which is lifelike (this is completely different from the lifelike utensils in textbooks); For example, the house of the chief of the Indian Haida tribe on the northwest coast of the United States has the same degree of detail as that of the Three Kingdoms. But why is the overall style we see so unfamiliar? We explain from the perspective of concept that the original artists think it is unnecessary, or that the description is too clear, which is not conducive to brain reinforcement and can not build connections; Or we can start from the aspect of symbols. TLALOC in the Aztec era in Mexico was made up of rattlesnakes as symbols. According to teacher Acheng's research, the Chinese gluttonous grain may be the product of the overlap of the two symbols of the green dragon and the celestial pole god. Symbolized things can't come naturally, so it's understandable that they grow up like that.

《艺术的故事》读后感 篇5

这本书讲了一个传统不断变化、不断延续，一个艺术创新的问题，就这点而言最适合学艺术的学生来读的。该书被誉为艺术史中的圣经。据说它被译成30种文字。就是这本书把成千上万的人引入了艺术的殿堂。作者贡布里希是当代最有洞见的美术史家，也是最具独创性的思想家之一。生于奥地利的维也纳，后移居英国并入英国籍。任美术界最高荣誉——剑桥和牛津大学斯莱德美术讲座教授，以及哈佛等多所大学的客座教授，屡获欧美国际学术机构的特殊荣誉。他还有学术著作有《艺术与错觉》、《秩序感》、《艺术发展史》、《象征的图像》等。50年前《艺术的故事》刚问世时的一段书评说：“这部肯定被广泛阅读的著作将会影响一代人的思想。贡布里希的学问，尽管在这一领域工作的任何学者都不难察觉，但他却表达得不露声色，而且几乎在每个论题上都讲出了新意。他以寥寥数语就阐发了一个时代的整体气氛。”这段文字出自当时的艺术史权威博厄斯之手，半个世纪后被证明绝非溢美之词。《艺术的故事》顾名思义不是一部高深的学术著作，作者开宗明义：本书打算奉献给那些需要对一个陌生而迷人的领域略知门径的读者。因此作者的任务是用浅近的语言，让读者用崭新的眼光去观看艺术作品。简而言之，这是一部通过艺术史来帮助人们欣赏艺术的通俗读物。

This book talks about a problem of constantly changing and continuing tradition and artistic innovation, which is most suitable for art students to read. The book is known as the Bible in the history of art. It is said that it has been translated into 30 languages. It is this book that has introduced thousands of people into the palace of art. Gombrich is the most insightful art historian and one of the most original thinkers. Born in Vienna, Austria, he immigrated to Britain and became a British citizen. He has been the highest honor in the art world - Slade Professor of Fine Arts at Cambridge and Oxford University, and a visiting professor at Harvard and other universities. He has won special honors from European and American international academic institutions. His academic works include Art and Illusion, Sense of Order, History of Art Development, Symbolic Image, etc. Fifty years ago, when The Story of Art was first published, a book review said: "This book that must be widely read will affect the thinking of a generation. Although any scholar working in this field can easily perceive Gombrich's knowledge, he expressed it quietly and said something new on almost every topic. He explained the overall atmosphere of an era in a few words." This text was written by the authority of art history at that time, Boas. Half a century later, it was proved that it was not a praise. As its name suggests, The Story of Art is not a profound academic work. The author makes it clear that the book is intended to be dedicated to those readers who need to know something about a strange and fascinating field. Therefore, the author's task is to use simple language to let readers watch works of art with new eyes. In short, this is a popular book that helps people appreciate art through art history.

《艺术的故事》讲述的是各种传统不断迂回、不断改变的故事，每一件作品在这故事中都既回顾过去又导向未来，因为在这个故事中，哪一方面也不如这样的景观奇妙：即一条有生命的传统锁链还继续把当前的艺术跟金字塔时代的艺术联系在一起。换句话说，“艺术为何会有一部历史”？作者以其特有的方式给出了回答。因此，如果说《艺术的故事》有一种艺术史的模式的话，那就是艺术问题史的模式。它不仅不同于艺术进步史模式，而且尤其反对那种已成了陈词烂调的艺术是时代精神表现的模式。正是在讨论艺术问题的提出与解决时，作者建立了一个社会情境的模式，这个模式的主要内容就是艺术家所面临的问题情境。难能可贵的是，作者用简洁的语言把手中的问题表达得如此清楚透彻，真是一个了不起的贡献。

The Story of Art tells the story of various traditions that are constantly circuitous and changing. Each work in this story both looks back on the past and guides the future, because in this story, it is not as wonderful as this landscape in any way: that is, a living traditional chain continues to link the current art with the art of the pyramid era. In other words, "Why does art have a history"? The author gives the answer in his own way. Therefore, if there is a model of art history in Art Story, it is the model of art problem history. It is not only different from the mode of art progress history, but also opposes the mode of expression of the spirit of the times that art has become a cliche. It is precisely when discussing the proposal and solution of artistic problems that the author establishes a model of social situation, the main content of which is the problem situation faced by artists. It is commendable that the author expresses the problems in his hands so clearly and thoroughly with concise language, which is really a great contribution.

本书不因用语浅近而降低理论的深度，正所谓“意深而文明”，使其写作本身就成了一种艺术。《艺术的故事》的心理学出发点正是这种观念，作者谈到了原始人和古埃及人画他们的所知，而印象主义者却想画他们的所见。通读全书，我们看艺术家如何从原始人和古埃及人的概念方法一步步走到印象主义的方法。尤其值得注意的是，作者在结尾写道：在印象主义的方案中也许有某种矛盾导致了再现艺术在20世纪的崩溃。因为实际上没有哪位艺术家可以抛弃所有的法规和程式，单纯地画他的所见。换言之，作者提出了所见与所知理论本身存在的一个巨大问题。从而把这个理论问题留给了他的更高深的著作《艺术与错觉》去解决。至此，我们可以进一步地说，《艺术的故事》不仅教给人们欣赏艺术，而且它还让人们欣赏了知识和智慧的魅力。所以，这本书值得我们去读。

This book does not reduce the depth of theory because of the shallow language. It is the so-called "profound and civilized", which makes its writing itself an art. The psychological starting point of "The Story of Art" is precisely this concept. The author talked about that primitive people and ancient Egyptians painted what they knew, while impressionists wanted to paint what they saw. After reading the whole book, we can see how the artist has gone step by step from the concept method of primitive people and ancient Egyptians to the impressionist method. In particular, the author writes at the end that there may be some contradictions in the impressionist scheme that led to the collapse of the reproduction art in the 20th century. In fact, no artist can abandon all laws and procedures and simply paint what he sees. In other words, the author puts forward a huge problem in the theory of what we see and what we know. Thus, this theoretical problem was left to his more profound work "Art and Illusion" to solve. So far, we can further say that the Story of Art not only teaches people to appreciate art, but also allows people to appreciate the charm of knowledge and wisdom. Therefore, this book is worth reading.

《艺术的故事》读后感 篇6

我们对艺术的起源不甚了了。过去对绘画、雕塑、建筑的态度不仅仅是纯粹当作艺术品，而是当作有明确用途的东西。如果不了解过去艺术必须服务的目的，也就很难理解过去的艺术。上溯历史越远，艺术必须服务的目的越明确，越奇特，如原始人的艺术，接近人类起源的状况，出于实用的目的，施行法术，对抗大自然和超自然的力量。

We don't know much about the origin of art. In the past, the attitude towards painting, sculpture and architecture was not only purely as a work of art, but also as something with a clear purpose. If you do not understand the purpose that the past art must serve, it is difficult to understand the past art. The farther back in history, the clearer and more peculiar the purpose that art must serve. For example, the art of primitive people is close to the condition of human origin. For practical purposes, it uses magic to fight against nature and supernatural forces.

这种“原始”的东西在我们身上还有，例如对相片，还有一些迷信的残余。原始人对于实物与图画的界限更不清楚。

Such "primitive" things still exist in us, such as photos, and some remnants of superstition. Primitive people were even less clear about the boundary between objects and pictures.

猜想原始人对于图画威力的普遍信仰，留下了最悠久的古迹，如拉斯科洞窟壁画。一些原始部落能佐证这个猜想。

It is speculated that the primitive people's universal belief in the power of painting left behind the oldest monuments, such as the Lascaux cave murals. Some primitive tribes can support this conjecture.

拉斯科洞窟壁画约公元前15000—前10000年

The frescoes in Lascaux Grottoes are about 15000-10000 BC

艺术家的工作就是运用他们的全部技艺和知识为行施法术提供能发挥作用的作品。身边依然有这种事情，国旗、婚戒。

The job of artists is to use all their skills and knowledge to provide useful works for casting spells. There are still such things around, such as national flags and wedding rings.

然而即使礼仪和习惯已经规定好，也还是给趣味和技艺留下了选择和活动余地。

However, even if etiquette and habits have been stipulated, they still leave room for choice and activities for fun and skills.

原始艺术作品按照预先规定而行，但艺术家仍然留有自己气质余地。原始艺术，并不意味着艺术家对技艺仅仅有原始的知识。例如新西兰的毛利木雕，技艺精湛。当然，一件东西难于制作不一定就能说明它是艺术品，但原始部落的技术水平足以证明他们的手艺很好，他们与我们不同不是由于技艺，而是由于观念。“整个艺术发展史不是技术成熟程度的发展史，而是观念和要求的变化史。”

The original works of art are in accordance with the provisions in advance, but artists still have their own temperament room. Primitive art does not mean that artists only have primitive knowledge of skills. For example, Maori wood carving in New Zealand is highly skilled. Of course, the fact that something is difficult to make does not necessarily mean that it is a work of art, but the technical level of the primitive tribes is enough to prove that their craftsmanship is good. They are different from us not because of their skills, but because of their ideas. "The whole history of art development is not a history of technological maturity, but a history of changes in concepts and requirements."

部落艺术品何以看起来生疏，涂鸦的实验告诉我们，原始艺术家用自己喜欢和顺手的形状构成人物或面孔，或许不大像原物，但能保持pattern的统一与和谐。

Why do tribal artworks look strange? The experiment of graffiti tells us that primitive artists use their favorite and handy shapes to form characters or faces, which may not be like the original, but can maintain the unity and harmony of PATTERN.

伊努伊特的舞蹈面具阿拉斯加约1880年

Inuit's dance mask Alaska circa 1880

原始艺术家创立了一套套精细方法用这种装饰性的样式去表现各种人物与图腾。以北美印第安海达部落酋长房屋的图腾柱为例。

Primitive artists created a set of elaborate methods to use this decorative style to express various figures and totems. Take the totem pole of the house of the chief of the Haida tribe in North America as an example.

原始艺术往往需要理解其目的，才能理解艺术家倾注的感情和劳动。也许不理解其寓意，但仍能欣赏其周密的手法。艺术在其奇特的起源时期，不应该用现在的观念去对待，以为其目的是开心或装饰。那时的文明，观念与我们大不一样，所以作品显得生疏而不自然。以古代美洲为例，阿兹特克、印加、玛雅。

Primitive art often needs to understand its purpose in order to understand the feelings and labor that artists devote to. Maybe I don't understand its implication, but I can still appreciate its careful technique. In its peculiar origin period, art should not be treated with the current concept, thinking that its purpose is happiness or decoration. At that time, the civilization and ideas were quite different from ours, so the works seemed strange and unnatural. Take ancient America for example, Aztec, Inca and Maya.

阿兹特克的雨神特拉劳克14—15世纪

The rain god of Aztec Tralauk in the 14th and 15th centuries

早期文明的制像不仅跟法术和宗教有关，也是最初的文字形式。虽说对神秘起源所知有限，但可以想想书画同源。

The image making of the early civilization was not only related to magic and religion, but also the original writing form. Although we know little about the mysterious origin, we can think of the same origin of calligraphy and painting.