Comparative studies of the artistic theory on formations and influences of Karel van Mander's Netherlandisch "Lives" in Schilder-Boeck

完成了“卡雷尔·范·曼德的荷兰“生活”评论”研究的最大成果。在这个翻译研究的过程中，我们的研究明确了以下几点。(1)曼德描述了15、16世纪荷兰绘画的历史，在《席尔德-博克》（Schilder-Boeck）中，他用了“invention”（创意/创意）、“teyckenconst”（线条艺术）、“well verwen”（着色）。(2)曼德独立创作了《席尔德-博克》，特别是运用了一种关于威尼斯绘画的艺术理论，特别是在洛多维科·多尔切的《阿雷蒂诺》中讲授的色相学，在形式上与瓦萨里的《生命》相对立。他颠倒了本质，颠倒了本质与属性的关系，即瓦萨里的价值观，在曼德尔的思想中，他强烈地意识到瓦萨里的设计。曼德尔把威尼斯的色彩和佛罗伦萨的迪塞尼奥统一起来，绘画和色彩与绘画结合在一起。最重要的元素是作为属性的颜色。(3)绘画不是独立存在的。存在是由旁观者规定的。换句话说，绘画的意义是在绘画和收藏家之间创造的。在这一研究中，曼德的历史观变得清晰，为荷兰绘画的研究开辟了新的视野。

The biggest results of research of "the Karel van Mander's Netherlandish "Lives" commentary" is completed. In the process of this translation study, our study clarified the following points.(1) Mander described history of Netherlandish paintings in 15, the 16th century, and, in"Schilder-Boeck," he used inventie (idea / originality), teyckenconst (line drawing art), wel verwen (coloring) on this occasion. (2) Mander wrote "Schilder-Boeck" independently, and, particularly, utilized a artistic theory on paintings of Venice, the chromatology which, in particular, was lectured on in "Aretino" of Lodovico Dolce in form to be opposed to "Lives" of Vasari. He reversed the essence and the relations of the essence and attribute,namely, sense of values of Vasari, was reversed,in teckenconst of Mander, while being strongly conscious of desegno of Vasari. Mander unified color in Venice and disegno of Florence, and drawing and color were tied to one with the painting. The most important element is a color downplayed as an attribute. (3)Paintings do notexist independently. The existence is prescribed by onlookers. In other words, the significances of the paintings are created in "between" paintings and collectors. In this study, historical view of Mander became clear and was able to open the new horizon for the studies of the Netherlandish paintings.