【作者】 叶丹；

【导师】 曹意强；

【作者基本信息】 中国美术学院 ， 美术史与美术理论， 2014， 博士

【摘要】 作为德国文艺复兴的灵魂人物，阿尔布莱希特·丢勒是第一位享有世界声誉的德国艺术家，他也是第一位越过阿尔卑斯山，亲眼目睹意大利文艺复兴的成果并且深受其影响的北方艺术家。他本人既把自己看作是意大利文艺复兴的学生，同时是它的传教士。因而，他在文艺复兴艺术史中的地位和当时在同一地区的北方艺术家的区别是十分突出的，他的生平、艺术以及后人对他的评述连同对他的作品的鉴赏都无法离开与艺术史学科发展之间的联系，他越过阿尔卑斯山的经历可以被看作是一个隐喻，不断提示着后来的欣赏者和研究者以及后来艺术史研究。在对丢勒的艺术被接受、被批评以及被研究的历史中我们会发现总有一些持续不断的趋势贯穿于其中，而这些趋势始终与艺术史的书写密切相关，在这些文字里随处可见的实际上是一个由新旧成分共同组成的混合体，只是在比例上有所不同。而所有这些线索，使得丢勒能够成为一面镜子，映照出所有他穿越的边界，以及因他而被穿越的边界。更多还原

【Abstract】 As a soul figure in German Renaissance, Albrecht Dürer is the first German artistto enjoy worldwide reputation. He is also the first northern artist that crossed the Alpsand witnessed the achievements of Italian Renaissance with his own eyes, and thatwas under its profound influence. He regarded himself as one of the students andpreachers of Italian Renaissance. Therefore, his status in the art history ofRenaissance and his differences from northern artists in the same region are quitehighlighted. His lifetime, his art, and the comments he receives after his death and hisappreciation of works are intertwined with the development of the history of arthistory. His experience of crossing the Alps is considered as a metaphor which keepsinspiring the art history.In the history when Dürer’s art was accepted, criticized and studied, we can findout that there are always some continuous trends throughout the art history. And thesetrends is always very closely associated with the principles of the art history, as amatter of fact, what we see everywhere is a mixture jointly made up of new and oldelements, and there’s no doubt that both of them are different in proportion. Due to allthese clues, Dürer can become a mirror casting light on all boundaries he had crossedand those being crossed because of him.更多还原