3. 思考"建築、繪畫、雕塑"之整合：從1776到1935： Laocoön 拉奧孔 (G. E. Lessing 萊辛 1776)、胡適 1935
Its object being the evocation of sentiment in others , art is primarily a social phenomenon. p.2
|書名||Apollo: an illustrated manual of the history of art throughout the ages|
|出版者||C. Scribner's sons, 1907|
Fig. 102, p.69 (Museum of the Vatican .)
104 . —HEAD o r A POLLO . m .
This eloquence of physical suffering, so touchrnly rendered in the head of the young giant, is carried still farther in the famous La oco b ' n group in the Vatican , the work of three Rhodian sculptors , who executed it about the year 50B . C . (Fig .69) Now that the marvels of the great
Lessing appears to adumbrate modern semitoics when he argues that the sign a specific medium can represent is limited to its mode. Laocoön (i.e., the man represented) cannot cry out because sculpture's mode is the static marble: poetry or drama is the only one which can directly represent Laocoön's pain.
It is , in fact , to be noted that all the animals represented by quaternary art are of the comestible kinds , which sav ages engraved o r painted in order to attract them by a sort of magic sympathy .
Dolmens and menhirs mark the beginnings of architecture , but of archi tecture scarcely worthy of the name, for decoration O ma n —133 m m PLAQUE plays hardly any part in Found In Sweden. (Stockholm Museum.) it, and the elements of construction can claim no excellence other than that of a massive solidity .
【動詞】 【他動詞】1〈…の〉輪郭を(漠然と)示す; 〈理論・考えなどを〉漠然と示す.2〈未来を〉予示する.3〈…を〉暗くする.