Circulation of images and graphic practices in Renaissance natural history: the example of Conrad Gessner.
Circulation of images and graphic practices in Renaissance natural history: the example of Conrad Gessner.
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文艺复兴时期自然历史中图像和图形实践的流通：康拉德·盖斯纳的例子。
DOI：
10.24894/gesn-en.2016.73003
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
S. Kusukawa
中科院分区：
文献类型：
--
作者：
F. Egmond;S. Kusukawa
康拉德·盖斯纳的《动物史》是一部来自各种来源的信息汇编：朋友、记者、书籍、宽边、图画以及他自己的经历。最近在阿姆斯特丹发现了一批最初属于Gessner的绘画，这为研究Gessner对自然的研究中图像的作用增加了一个新的维度。在本文中，我们研究的图纸是在鱼量的图像的基础。我们发现了几个案例，其中有多个副本的同一画的鱼（而不是多个图纸的samefish），这是问题的概念，独特的“原始”副本和他们的副本。虽然我们对委托或制作图纸副本的实际机制或参与其中的人仍然知之甚少，但它们的存在本身表明，图像在现代早期的知识流通中起着重要的媒介作用。
Conrad Gessner's Historia animalium is a compilation of information from a variety of sources: friends, correspondents, books, broadsides, drawings, as well as his own experience. The recent discovery of a cache of drawings at Amsterdam originally belonging to Gessner has added a new dimension for research into the role of images in Gessner's study of nature. In this paper, we examine the drawings that were the basis of the images in the volume of fishes. We uncovered several cases where there were multiple copies of the same drawing of a fish (rather than multiple drawings of the samefish), which problematizes the notion of unique "original" copies and their copies. While we still know very little about the actual mechanism of, or people involved in, commissioning or generating copies of drawings, their very existence suggests that the images functioned as an important medium in the circulation of knowledge in the early modern period.