艺术史家如何获得诺贝尔奖：访谈Horst Bredekamp

艺术史图书馆按：之前推送的关于Marco 的书，其中最后的三张慈禧图片的图注应该是慈禧的油画在国外展出。上期推送的Wood的艺术史学史的新书，重新看了一遍，可能叙述的顺序有些乱，其中有一点，值得再强调一下，Wood的historical thinking on art的思路其实是一种很好的启发，实际上是跟施若塞尔一样，重点在艺术史学科化之前对艺术的思考，也就是所谓艺术史家的任务是将艺术重新作为艺术作品，这就扩大了艺术史家的范围。而在这一点上，中国艺术史有悠久的传统。中国的艺术史学科化没有多少年，所以现在学术下的史学史的撰写似乎还没多少必要，但传统的一大块也被发掘得不够。这一部分其实也是Baxandall所非常重视的，因为有了书法作为中间媒介，使得中国的传统艺术批评更容易切合艺术的本质。

2016年3月在KHI的一个素描会议上，我还记了下面这段话：

“晚上是Christopher Wood, 机智地用maker（制作者）和beholder（观看者）的角度将drawing分成了realized,valued,indepedent三类，让一向严谨的德国人凌乱了，拼命问他这是不是放之四海皆准啊，他说，不是啊，趁想的。笑死人啊。”

上面这张照片可见当时的讨论会有多火爆了。Wood的脑子之快也可见一斑。一个脑子好用的学者，做的访谈肯定好看。这就是这一期的主题：Wood 访谈Horst Bredekamp。

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艺术史家如何获得诺贝尔奖? Bredekamp在谈到艺术史家应该帮助科学家来处理图像时，说到为此我们要拿个诺贝尔奖。（This is what visual enlightenment is all about, of course. We want a Nobel Prize for that. ）目前科学界的大型数据只能通过图像来整体把握。这也就是图像闯入到了科学之中，因此协助科学家进行图像分析就成了艺术史家的工作。诺贝尔奖获得者Wolfgang Pauli 就曾与潘诺夫斯基通信讨论偏爱用视觉符号来作为直觉的工具。

本文是阅读Horst Bredekamp系列第一篇，主要以Wood对Horst Bredekamp的访谈为主来呈现一些重要的侧面。阅读是一件非常私人的事情，这个阅读系列只是提供一个思路进入一个艺术史家而已，并不会给出任何总结性的观点。

强烈建议去阅读完整访谈的PDF，这篇访谈里可藏了好几个诺贝尔奖，要是中国艺术史家拿个诺贝尔，大概是艺术史在中国的最高光时刻。北大好多本科学物理、化学、生物、数学的，转行到艺术史时，别忘了老本行就是了。另外他们那套科技图像的杂志，中科院各所不来几套？各美院不赶紧订上Science、Nature、Cell。（后台回复bredekmap就有这篇访谈，还有关于Bredekamp和盖蒂基金会的故事，非常生动，完全是榜样啊，另外还有他的科技图像的英译本The technical image: a history of styles in scientific imagery。）

一、童年和大学时期

整个访谈中，有两点我印象非常深刻：一是自由的选择，从童年到之后的学习，都是他自己的选择，父母给了他自由；二是在他自己成长之后，他都参与到了开辟新的艺术史研究的运动中去，反抗了传统的艺术史家，甚至被德高望重的艺术史家称为“terrorists” 和“iconoclasts” 。这两个方面，一直潜藏在他后来的研究之中，也内化在他后来所推进的科学图像这一研究脉络中。

“Kiel’s houses were more than 80 percent bombed, so I grewupamongruins. That meant a lot of free spaces that adults could not get to, so that my generation paradoxically had a rather free, almost wild childhood.Then in 1966 I joined the navy, andtheremyworldviewchanged. Afterward, I began to study medicine. I did all the initial exams, but I didn’t like the other students. They were very money-oriented, I thought. So I studied various subjects, psychology, psychiatry, anthropology, and sociology, for two years. And then by chance I went to a lecture by Wolfgang Müller in Kiel on the history of St. Peter’s, and I thought: that’s it. After this decision, my parents gave me the liberty to study what I wanted to. I will never forget that! Still today I find these years of disorientation a precious element in my education.”

二、写博士论文的背景

 1975年Bredekamp的博士论文是Kunst als Medium sozialer Konflikte: Bilderkämpfe von der Spätantike bis zur Hussitenrevolution

Cambodian soldier with a gun and both a statue and painting of Buddha, from the Frankfurter Rundschau, July 27, 1973 (photograph © Horst Bredekamp)

1970年4月6日到12日在科隆举行的12届德国艺术史家会议说起，当时Martin Warnke 主持的Kunstgeschichte zwischen Wissenschaft und Weltanschauung，攻击了德国传统的艺术史研究。

Horst Bredekamp, Martin Warnke, and Franz-Joachim Verspohl 1974

用Bredekamp的话说“ we wanted to open art history, to reshape it as a social history of struggles.”，然他们就被老教授们称为terrorists和iconoclasts。这个会议仅在4月份就在13份德国新闻报纸、周刊中报道了28篇文章，引起了广泛的讨论。之后Martin Warnke因为没法拿到教授，已经准备退出学界，重整新闻。当时Herman Usener 、Wolfgang Abendroth、Heinz Maus 帮助了他，“Usener, Abendroth, and Maus said we had one chance: Warnke must get through. And they brought him through.” Martin Warnke拿到教席后才使得Bredekamp和Verspohl能够在他下面写博士论文。

“When he（Warnke）edited the volume Bildersturm, I contributed an article on Girolamo Savonarola. He himself wrote a marvelous introduction, which is exemplary and paradigmatic for the whole situation. We compiled this book in order to reflect on the accusation that those who have a critical attitude toward art history and the arts are called “iconoclasts.” We wanted to know what the term meant. So this was the framework within which I wrote my dissertation. （仇嘛，总是要报的，而且要干得漂亮。）”

三、艺术社会学

马克思主义下的艺术社会学，在今天我们的理解可能过于教条。巴克桑德尔也是需要从这个角度去理解，但不要利用我们现在的艺术社会学，或者字面意义上的，而是从当时的社会中去。博伊斯这里其实就显得非常重要，现在名声大燥的Abramovic 当年也是亲临了博伊斯的现场，并且在自己的传记中提到。

Restorer Cordula Ka¨hler, Horst Bredekamp, and Herbert Beck in front of the altarpiece by the Master of the Darmstadt Passion,ca. 1450, Bad Orb, Liebighaus, Frankfurt, 1976 (artwork in the public domain; photograph © Horst Bredekamp)

Joseph Beuys in the Berlin Academy of Arts, the morning of February 28, 1969; Bredekamp is at the right edge (photograph by Ute Klophaus, © Horst Bredekamp)

四、科技图像：科学图像的风格史

在Bredekamp看来，数字时代将科学转化成为了一个图像研究的领域。艺术史本来就是研究图像，因此应当参与科学研究中的图像分析处理过程。

这里的几个回合的问答实在太有意思，也展示了德国和美国在学术研究上的巨大差异，照录如下，重点是我所加的：

Wood: But thoseillusionsareinstrumental, in the sense that they are designed to solve problems, and then once the problem is solved, the illusion can be discarded. Whereas a work of art is an illusion that we keep. We are trying to convince scientists that they need us. We may need them in order to get the funding. But do they need us?

Bredekamp: They need us. Those scientists who reflect on their research and their work as breaking down the border between nature and picture, as in nanotechnology or cosmology, are thirsty for tools of analysis such as those that art history can offer.It is not art history that is in danger. Science has gained new spheres of complexity by using pictures, not as illustrations, but as tools of research (Fig. 5). Before the 1960s you would find fewer pictures in the sciences than formulas and texts. In the last fifty years scientific journals, such as Nature, for example, have become art journals. They use the same colors, the same dramatization, the same aesthetics,an over stressing of things.

Wood: In effect, you want to help scientists stabilize their use of pictures so that they can be applied productively in science. Isn’t that the opposite of what a work of art does? A work of art destabilizes.

Bredekamp:One could argue that as pictures in the sciences construct a reality, they destabilize what they show. This is an extremely complex process that goes to the heart of Mannerist art theory.

Wood: You want to teach them all the strange things that images can do so that they learn how to filter them out and not be deceived by them.

Bredekamp: This is what visual enlightenment is all about, of course. We want a Nobel Prize for that.

Wood: Do art historians know enough to interpret technical images? For example, a radiologist is a physician who reads X-rays. It is one of the most difficult medical specialties. How can we possibly contribute to this? It takes years of study to learn how to read an X-ray. The same must be true for images in other scientific fields.

Bredekamp: Yes, it takes time,butnotyears. Those people who are doing it definitely have to go into the material in depth. Stefan Ditzen has written a dissertation on the history of microscopy. He trained for months in the laboratory at the Free University.

Wood: Most of my students go into art history because they love art and their imaginations are liberated by art. They don’t go into it because they want to learn microscopy. Maybe you are talking about identifying a new population of students.

Bredekamp:My further goal is to break down the arrogance of science, just as we need to resist the escapism of students of art history. I’mnotproudofmany more things than the journal Bildwelten des Wissens, which we founded as a medium of Das technische Bild.Only half of the authors are art historians; another third of them are from the sciences, reporting on the latest developments and criticizing them.

Wood: You know that in the United States nothing like this happens because most art history is practiced behind the walls of universities and colleges and is not expected to engage with research in the sciences. Either it means that American art historians are living in Plato’s cave and are not paying attention to what is happening in society, or it means that we have the freedom to develop a concept of art.

Bredekamp: Why entertain this contradiction? In my view, I work within the same framework established by Warburg, who studied Sandro Botticelli, visual propaganda in the religious battles of the sixteenth century, the elliptical diagrams of Johannes Kepler, visual military tools of World War I, stamps of the twentieth century, and the visual totems of the Hopi Indians alike, to name just a few of his fields. But I also work within the framework of Panofsky, who developed film studies; it was his invention. Alsohisworkonthe front of the Rolls-Royce as a drive of associations; his piece on the mathematics of the Renaissance is impressive, and his work on Galileo is standard in the history of mentalities.

五、科学家的素描

在Bredekamp看来，艺术史作为历史上的图像研究（historische Bildwissenschaft），艺术取的是希腊语意义上的techné 和拉丁语意义上的ars，因此并不只是指high arts这一种。所有人类留下来的图像都是值得艺术史家来处理的。

如果熟知Bredekamp的著作的话，那么科学家的素描就是他最喜欢处理的。比如伽利略、莱布尼茨、达尔文等，他的成名作Galilei der Künstler: der Mond, die Sonne, die Hand就是以伽利略的月食素描为分析对象，2014年出版的Die Fenster der Monade: Gottfried Wilhelm Leibniz’ Theater der Natur und Kunst，开篇就是以莱布尼茨的袜子上的结的素描为开篇，2006年出版的Darwins Korallen Frühe Evolutionsmodelle und die Tradition der Naturgeschichte 则是分析了珊瑚形状的树形结构的素描。

Galilei, Berechnungen und Mondskizzen, Feder auf Papier, 1611/12, BNCF, Bd. 50,fol. 68r

这张素描之前我有提到过，还分析了他的写作过程，见艺术史的漫游者：散漫式的阅读和笔记工具—E-ink 阅读器

这个访谈里有意思的东西非常多，比如讲到现在的全球化的交流扼杀了denkraum，“The strangulation of unexpected movements is one of the worst effects of the globalization of communication. It kills the sense of insecurity and thereby also imagination and the will to orient oneself in strange and even hostile situations. The loss of dimensionality, if one may say so, is enormous.” 大概这能解释Horst Bredekamp现实中是连邮件都不常用的学者。

点击原文可以链接到他的主页

数据库推荐： 西西里王国的中世纪建筑的图像数据库

数字人文系列：

           零：数字人文时代的个人数据库之导论：目录学下的数据库阅读

           一：如何用目录学追踪艺术史的最新进展：书籍编目的工具Zotero

           二：数字人文时代的个人数据库之二：获取艺术史电子资源的方法

               三：数字人文时代的个人数据库之三：pdf优化工具和OCR工具的选择

               四：艺术史的漫游者：散漫式的阅读和笔记工具—E-ink 阅读器

               五：艺术史的写作：图像的尤利西斯之旅

           六：数字人文时代的个人数据库之六：数据库的索引与检索工具FoxTrot Pro

           七：艺术的判断力之源：随身携带的个人数据库Foxtrot attaché

           八：艺术史研究中原始材料和术语的整理：Marginnote在艺术史研究中的两个实例

           九：Evernote作为艺术史阅读和观看的判断力工具

           十：数字人文时代的个人数据库之十：数据的同步与备份

  艺术史研究中的图像使用系列：

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