19世纪照相术发明时有人声称绘画终结了,当时有这种担心的人是把绘画理解成了单纯的物像记录的手工技术。后来证明,摄影很快发展出了它自己独特的理解事物的哲学,绘画包括其他古老的造型体系则继续向前发展,甚至被许多现代摄影大师所借用,就像当代艺术对摄影的借用一样。由机器快门和暗房化学合成技术构成的这种图像系统,已经很大程度地减低了过去再现和表达物像的劳动程度,但这种机械替代工具的延伸却并未丝毫改变人的眼睛和心灵,勿宁说反倒扩大了不能以常数论的人的心智活动的疆域。浅显的例子是,如果没有对均衡肃穆的古典雕塑的理解,最近刚离世的亚当斯就 At the time of the 19th century invention of photography, it was claimed that the painting was over. At that time, those who were worried about it were comprehending the art of painting as a purely manual technique of image recording. It later turned out that photography quickly developed its own philosophy of understanding things. Painting, including other ancient forms, continued to move forward and was even borrowed by many modern masters, just as contemporary art borrowed from photography. Such image systems, which are composed of machine shutters and darkroom chemistry, have greatly reduced the amount of labor used to reproduce and render images in the past, but the extension of this mechanical alternative did not in the least alter the eyes and mind Rather than saying that it has actually expanded the boundaries of the mental activities of people who can not hold constant arguments. The obvious example is that Adams, who recently passed away without an understanding of a balanced classical sculpture