{"id":18882,"date":"2024-11-08T00:00:00","date_gmt":"2024-11-07T16:00:00","guid":{"rendered":"https:\/\/arthistorystrolls.com\/?p=18882"},"modified":"2024-11-04T03:36:15","modified_gmt":"2024-11-03T19:36:15","slug":"%e9%80%9a%e5%be%80%e5%85%89%e6%98%8e%e6%9c%aa%e4%be%86%e7%9a%84%e5%a4%a7%e9%96%80%e2%94%80%e2%94%80%e8%89%be%e8%8f%b2%e7%88%be%e9%90%b5%e5%a1%94","status":"publish","type":"post","link":"https:\/\/arthistorystrolls.com\/?p=18882","title":{"rendered":"\u901a\u5f80\u5149\u660e\u672a\u4f86\u7684\u5927\u9580\u2500\u2500\u827e\u83f2\u723e\u9435\u5854"},"content":{"rendered":"\n

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\"\"<\/a>
\u3010\u57163\u3011\u6731\u8036\uff0e\u5e03\u8d6b\u4ee3\uff08Jules Bourdais\uff09\uff0c\u300a\u5df4\u9ece\u7d00\u5ff5\u71c8\u5854\u8a08\u756b\uff0c\u7acb\u9762\u5716\u300b\uff08Projet de phare monumental pour Paris, \u00e9l\u00e9vation\uff09\uff0c1881\u5e74\uff0c61 x 21.1 \u516c\u5206\uff0c\u5967\u8cfd\u7f8e\u8853\u9928\u85cf\uff0c\u00a9 Mus\u00e9e d\u2019Orsay, Dist. RMN-Grand Palais \/ Patrice Schmidt \u5716\u7248\u4f86\u6e90\uff1aMus\u00e9e d\u2019Orsay<\/a>\u3002<\/figcaption><\/figure>\n\n\n\n

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\u5728\u5efa\u9020\u904e\u7a0b\u4ee5\u53ca\u9435\u5854\u5b8c\u6210\u5f8c\uff0c\u827e\u83f2\u723e\u66fe\u591a\u6b21\u5f37\u8abf\uff1a\u300c\u5efa\u9020\u9019\u6a23\u9ad8\u8073\u7684\u5efa\u7269\u6700\u5927\u7684\u6311\u6230\uff0c\u662f\u9ad8\u8655\u731b\u70c8\u7684\u5f37\u98a8\u3002\u300d[5]<\/sup><\/a>\u56e0\u6b64\u827e\u83f2\u723e\u4f7f\u7528\u93e4\u7a7a\u8a2d\u8a08\uff0c\u4f7f\u98a8\u80fd\u5920\u7a7f\u904e\u5854\u9ad4\uff0c\u4e26\u4e14\u4ed6\u8b93\u5854\u6108\u9ad8\u8655\u5c31\u6108\u7a84\u5c0f\uff0c\u6e1b\u5c11\u8868\u9762\u7a4d\u4ee5\u964d\u4f4e\u98a8\u963b\uff0c\u9435\u5854\u5916\u5728\u7d50\u69cb\u7684\u8a2d\u8a08\u63a5\u53d7\u904e\u56b4\u8b39\u7684\u8a08\u7b97\uff0c\u4f7f\u5f97\u57fa\u5e95\u7684\u56db\u6839\u67f1\u5b50\u80fd\u5920\u7a69\u56fa\u5730\u652f\u6490\u5854\u9ad4\u4e0d\u88ab\u5f37\u98a8\u5439\u5012\u3002\u6b64\u5916\uff0c\u827e\u83f2\u723e\u9435\u5854\u4f7f\u7528\u7684\u662f\u9810\u5148\u88fd\u4f5c\u92fc\u9435\u6750\u6599\uff0c\u9019\u4f7f\u5f97\u88fd\u4f5c\u7684\u91d1\u9322\u8207\u6642\u9593\u6210\u672c\u5927\u70ba\u6e1b\u5c11\u3002<\/p>\n\n\n\n

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\u8b9a\u5606\u8207\u731b\u70c8\u7684\u7832\u706b<\/mark><\/strong><\/p>\n\n\n\n

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\"\"<\/a>
\u3010\u57164\u3011\u300a1889\u5e74\u5df4\u9ece\u842c\u570b\u535a\u89bd\u6703:\u827e\u83f2\u723e\u9435\u5854\uff0c\u5730\u7403\u4e0a\u6700\u9ad8\u7684\u7d00\u5ff5\u7891\u300b(Exposition Universelle de Paris en 1889. La Tour Eiffel, le plus haut monument du globe)\uff0c1888\u5e74\uff0c\u77f3\u7248\u5370\u5237\uff0c\u6cd5\u570b\u570b\u5bb6\u5716\u66f8\u9928\u85cf\uff0c\u5716\u7248\u4f86\u6e90\uff1a\u6cd5\u570b\u570b\u5bb6\u5716\u66f8\u9928<\/a>\u3002<\/figcaption><\/figure>\n\n\n\n

\u535a\u89bd\u6703\u5438\u5f15\u4f86\u81ea\u4e16\u754c\u5404\u5730\u7684\u65c5\u5ba2\u89c0\u5149\u671d\u8056\uff0c\u4e26\u61fe\u670d\u65bc\u827e\u83f2\u723e\u9435\u5854\u7684\u5de8\u5927\uff0c\u4e00\u4f4d\u4f86\u81ea\u7fa9\u5927\u5229\u7684\u65c5\u4eba\u8a55\u8ad6\u9053\uff1a\u300c\u827e\u83f2\u723e\u9435\u5854\u6355\u6349\u4e86\u6240\u6709\u7684\u60f3\u50cf\uff0c\u5b83\u662f\u67d0\u7a2e\u8b93\u4eba\u985e\u986f\u5f97\u6e3a\u5c0f\u3001\u7121\u53ef\u9810\u671f\u3001\u5e7b\u60f3\u7684\u4e8b\u7269\u3002\u300d[6]<\/sup><\/a>\u53e6\u4e00\u4f4d\u767b\u4e0a\u9435\u5854\u7684\u8461\u8404\u7259\u65c5\u5ba2\u5247\u5927\u558a\u300c\u9019\u771f\u662f\u592a\u58ef\u89c0\u4e86\uff01\u300d[7]<\/sup><\/a>\u6cd5\u570b\u79d1\u5b78\u5bb6\u52a0\u65af\u6771\uff0e\u5824\u677e\u8fea\u8036\uff08Gaston Tissandier, 1843-1899\uff09\u5728\u7576\u5e74\u767c\u884c\u4e86\u4e00\u672c\u8b9a\u980c\u9019\u500b\u7576\u4ee3\u5947\u89c0\u7684\u5c0f\u518a\u5b50\uff0c\u4ed6\u8a8d\u70ba\u9019\u5ea7\u5854\u300c\u5c07\u70ba\u79d1\u5b78\u8207\u6211\u5011\u7684\u570b\u5bb6\u5e36\u4f86\u91cd\u5927\u7684\u8ca2\u737b\u300d[8]<\/sup><\/a>\uff0c\u63d0\u677e\u8fea\u8036\u60f3\u50cf\u827e\u83f2\u723e\u9435\u5854\u80fd\u5920\u4f7f\u7528\u5728\u6230\u7565\u89c0\u5bdf\u3001\u96fb\u5831\u901a\u8a0a\u3001\u6c23\u8c61\u8207\u5929\u6587\u89c0\u6e2c\u4f7f\u7528\uff0c[9]<\/sup><\/a>\u53ef\u898b\u5f97\u6cd5\u570b\u4eba\u5c0d\u827e\u83f2\u723e\u9435\u5854\u8207\u79d1\u6280\u9032\u6b65\u8207\u611b\u570b\u4e3b\u7fa9\u756b\u4e0a\u7b49\u865f\u7684\u6587\u5316\u73fe\u8c61\u3002<\/p>\n\n\n\n

\"\"<\/a>
\u3010\u57165\u3011\u4fdd\u7f85\uff0e\u8def\u6613\uff0e\u5fb7\u862d\u65af\uff08Paul Louis Delance, 1848-1924\uff09\u9019\u5e45\u300a\u827e\u83f2\u723e\u9435\u5854\u300b\u662f\u5c11\u6578\u4ee5\u6b63\u5728\u5efa\u9020\u4e2d\u7684\u9435\u5854\u70ba\u4e3b\u984c\u7684\u6cb9\u756b\u4f5c\u54c1\u3002\u7f6e\u8eab\u65bc\u5de5\u696d\u5316\u5f8c\u5927\u57ce\u5e02\u7684\u827e\u83f2\u723e\u9435\u5854\uff0c\u88ab\u5de5\u5ee0\u4ee5\u53ca\u84b8\u6c7d\u8239\u6392\u653e\u7684\u7159\u9727\u570d\u7e5e\u8457\uff0c\u524d\u666f\u571f\u9ec3\u8272\u7684\u585e\u7d0d\u6cb3\u4ee5\u53ca\u7070\u6fdb\u6fdb\u7684\u5929\u7a7a\uff0c\u8b93\u89c0\u773e\u80fd\u5920\u8f15\u6613\u5730\u5c07\u5de5\u696d\u6c59\u67d3\u7684\u6982\u5ff5\u9023\u7d50\u81f3\u827e\u83f2\u723e\u9435\u5854\u7684\u5efa\u9020\u3002\u4fdd\u7f85\uff0e\u8def\u6613\uff0e\u5fb7\u862d\u65af\uff0c\u300a\u827e\u83f2\u723e\u9435\u5854\u82071889\u5e74\u4e00\u6708\u7684\u842c\u570b\u535a\u89bd\u6703\u300b\uff08La Tour Eiffel et les travaux de l\u2019exposition universelle en janvier 1889<\/em>\uff09\uff0c1889\u5e74\uff0c\u6cb9\u5f69\u756b\u5e03\uff0c127 x 190.5 cm\uff0c\u5df4\u9ece\u5361\u7d0d\u74e6\u96f7\u535a\u7269\u9928\u85cf\uff0c\u5716\u7248\u4f86\u6e90\uff1a Paris Mus\u00e9es<\/a>\u3002<\/figcaption><\/figure>\n\n\n\n

\u7136\u800c\u4e26\u4e0d\u662f\u6240\u6709\u4eba\u90fd\u6b61\u8fce\u9019\u5ea7\u5de8\u5854\uff0c\u5728\u9435\u5854\u6b63\u5f0f\u5efa\u6210\u524d\uff0c\u4e00\u7fa4\u6182\u5fc3\u7684\u85dd\u8853\u5bb6\u3001\u4f5c\u5bb6\u806f\u5408\u8d77\u4f86\u5beb\u4e86\u4e00\u5c01\u516c\u958b\u4fe1\u7d66\u842c\u570b\u535a\u89bd\u6703\u7684\u7c4c\u5099\u59d4\u54e1\u6703\uff0c\u4fe1\u4e2d\u5beb\u9053\u300c\u2026\u2026\u60f3\u50cf\u4e00\u4e0b\uff0c\u4e00\u5ea7\u7729\u76ee\u53ef\u7b11\u7684\u9435\u5854\u4e3b\u5bb0\u6574\u500b\u5df4\u9ece\uff0c\u6216\u662f\u4e00\u500b\u9ed1\u8272\u5de8\u5927\u7684\u5de5\u5ee0\u7159\u56ea\uff0c\u4ee5\u5176\u91ce\u883b\u7684\u9ad4\u7a4d\u8f3e\u58d3\u8457\u8056\u6bcd\u9662\u3001\u2026\u2026\u3001\u51f1\u65cb\u9580\uff0c\u6211\u5011\u6240\u6709\u7684\u7d00\u5ff5\u5efa\u7bc9\u56e0\u6b64\u8499\u7f9e\u3002\u300d[10]<\/sup><\/a>\u6cd5\u570b\u5c0f\u8aaa\u5bb6\u5c45\u4f0a\uff0e\u5fb7\uff0e\u83ab\u6cca\u6851\uff08Guy de Maupassant, 1850-1893\uff09\u4e5f\u6279\u8a55\u300c\u6211\u5728\u60f3\u6211\u5011\u9019\u4ee3\u7684\u4eba\u6703\u600e\u9ebc\u60f3\u5462\uff0c\u82e5\u4e0d\u62c6\u9664\u9019\u5ea7\u9ad8\u9ad8\u7626\u7626\u7684\u9435\u68af\u91d1\u5b57\u5854\uff0c\u9019\u500b\u5de8\u5927\u53c8\u4e1f\u4eba\u7684\u9ab8\u9aa8\uff0c\u5b83\u7684\u57fa\u5e95\u4f3c\u4e4e\u662f\u70ba\u4e86\u652f\u6490\u53ef\u6015\u7684\u7368\u773c\u5de8\u4eba\uff0c\u4f46\u537b\u5931\u6557\u800c\u6210\u4e86\u5982\u5de5\u5ee0\u7159\u56ea\u55ae\u8584\u53ef\u7b11\u7684\u8f2a\u5ed3\u3002\u300d[11]<\/sup><\/a>\u6709\u610f\u601d\u7684\u662f\uff0c\u5f9e\u5c0d\u827e\u83f2\u723e\u9435\u5854\u8207\u5de5\u5ee0\u7159\u56ea\u7684\u806f\u60f3\u4e2d\u88e1\uff0c\u53ef\u898b\u7576\u4ee3\u4eba\u78ba\u5be6\u5c07\u827e\u83f2\u723e\u9435\u5854\u8207\u5de5\u696d\u79d1\u6280\u7dca\u5bc6\u5730\u76f8\u9023\u5728\u4e00\u584a\uff0c\u4e0d\u904e\u5c0d\u6279\u8a55\u8005\u800c\u8a00\uff0c\u827e\u83f2\u723e\u7684\u9435\u5854\u53ea\u6703\u5e36\u4f86\u7684\u8207\u5de5\u696d\u9769\u547d\u76f8\u540c\u7684\u8ca0\u9762\u6548\u61c9\uff0c\u800c\u4e0d\u8a8d\u70ba\u9019\u5ea7\u5854\u80fd\u5920\u70ba\u6cd5\u570b\u7684\u7b2c\u4e09\u5171\u548c\u5e36\u4f86\u6b63\u9762\u7684\u8a55\u50f9\u3002\u3010\u57165\u3011<\/p>\n\n\n\n

\u5c0d\u65bc\u9019\u500b\u6642\u4ee3\u7684\u671f\u5f85\uff0c\u90fd\u5316\u4f5c\u4e00\u5ea7\u5de8\u5854<\/mark><\/strong><\/p>\n\n\n\n

\u6b77\u53f2\u5b78\u8005\u7c73\u5229\u5b89\uff0e\u52d2\u6587\uff08Mariam Levin, 1940-\uff09\u5728\u70ba\u5c55\u89bd\u3008\u7576\u827e\u83f2\u723e\u9435\u5854\u4ecd\u65b0\u6642\u3009\u6240\u5beb\u7684\u6587\u7ae0\u4e2d\u63d0\u5230\uff1a\u300c\u300e\u827e\u83f2\u723e\u9435\u5854\u300f\u8c61\u5fb5\u8457\u6cd5\u570b\u5927\u9769\u547d\u6380\u8d77\u4ee5\u79d1\u5b78\u8207\u79d1\u6280\u70ba\u57fa\u790e\u7684\u81ea\u7531\u6c11\u4e3b\u904b\u52d5\uff0c\u5171\u548c\u570b\u7684\u52aa\u529b\u5960\u57fa\u65bc\u81ea\u7531\u3001\u5e73\u7b49\u8207\u535a\u611b\u7684\u9769\u547d\u7406\u60f3\uff0c\u5176\u65e8\u5728\u555f\u8fea\u6cd5\u570b\u516c\u6c11\u61c9\u5c0d\u5de5\u696d\u5316\u5e36\u4f86\u7684\u5275\u50b7\u3002\u300d[12]<\/sup><\/a>\u524d\u7f85\u6d6e\u5bae\u9928\u9577\u4ea8\u5229\uff0e\u7f85\u8d6b\u7279\uff08Henri Loyrette, 1952-\uff09\u66f4\u63d0\u51fa\u4e00\u500b\u7cbe\u7c21\u7684\u516c\u5f0f\uff1a\u300c\u827e\u83f2\u723e\u9435\u5854=\u5171\u548c=\u9032\u6b65\u7684\u52dd\u5229\u3002\u300d[13]<\/sup><\/a>\u4e00\u8a00\u9053\u76e1\u7b2c\u4e09\u5171\u548c\u653f\u5e9c\u60f3\u8981\u4ee5\u827e\u83f2\u723e\u9435\u5854\u6210\u5c31\u7684\u4e8b\u7269\u3002\u6b63\u5982\u6211\u5011\u6240\u77e5\uff0c\u827e\u83f2\u9435\u5854\u5f9e\u672a\u771f\u7684\u88ab\u7576\u4f5c\u6c23\u8c61\u89c0\u6e2c\u7ad9\u6216\u5929\u6587\u53f0\u4f7f\u7528\uff0c\u4f46\u5b83\u7368\u7279\u7684\u5916\u8c8c\u8207\u9a5a\u4eba\u7684\u9ad8\u5ea6\u4f7f\u4eba\u5011\u5c0d\u9019\u5ea7\u5de8\u5854\u6709\u8457\u7121\u76e1\u7684\u60f3\u50cf\u3002\u7576\u6cd5\u570b\u54f2\u5b78\u5bb6\u7f85\u862d\uff0e\u5df4\u7279\uff08Roland Barthes, 1915-1980\uff09\u66f8\u5beb\u827e\u83f2\u723e\u9435\u5854\u7684\u795e\u8a71\u6642\uff0c\u4ed6\u8a8d\u70ba\u6b63\u662f\u56e0\u70ba\u827e\u83f2\u723e\u9435\u5854\u672c\u8eab\u4e0d\u5177\u6709\u4efb\u4f55\u7684\u5be6\u8cea\u529f\u80fd\uff0c\u4eba\u5011\u624d\u80fd\u5728\u5b83\u4e09\u89d2\u5f62\u7684\u5916\u8868\u4e0a\u9644\u52a0\u7121\u6578\u7684\u610f\u7fa9\u3002[14]<\/sup><\/a>\u76f4\u81f3\u4eca\u65e5\uff0c\u827e\u83f2\u723e\u9435\u5854\u65e9\u5df2\u8d85\u8d8a\u4e86\u539f\u4f86\u7684\u610f\u7fa9\uff0c\u6210\u70ba\u4e16\u754c\u5c0d\u65bc\u65c5\u884c\u7684\u5177\u9ad4\u5f62\u8c61\u3002<\/p>\n\n\n\n

[1]<\/sup><\/a>\u00a0\u8f49\u5f15\u81ea Henri Loyrette, Gustave Eiffel <\/em>(New York: Rizzoli, 1985), p. 150.<\/p>\n\n\n\n

[2]<\/sup><\/a> Henri Loyrette, Gustave Eiffel <\/em>(New York: Rizzoli, 1985), p. 111.<\/p>\n\n\n\n

[3]<\/sup><\/a> Loyrette, Gustave Eiffel,<\/em> pp. 111-114.<\/p>\n\n\n\n

[4]<\/sup><\/a> Loyrette,\u00a0Gustave Eiffel<\/em>, pp. 119-120.<\/p>\n\n\n\n

[5]<\/sup><\/a> David Billington, The Tower and the Bridge <\/em>(New York: Basic Books, Inc., 1983), p.\u00a061.<\/p>\n\n\n\n

[6]<\/sup><\/a> William Thompson, \u201c\u2018The Symbol of Paris\u2019: Writing the Eiffel Tower,\u201d The French Review<\/em> 73, no. 6 (May, 2000): 1131.<\/p>\n\n\n\n

[7]<\/sup><\/a> Thompson, \u201cThe Symbol of Paris,\u201d p. 1131.<\/p>\n\n\n\n

[8]<\/sup><\/a> Gaston Tissandier, The Eiffel Tower: A Description of the Monument, its Construction, its Machinery, its Object, and its Utility <\/em>(London: Sampson Low, Marston, Searle, & Rivington, 1889), p. 84. <\/p>\n\n\n\n

[9]<\/a><\/sup> Tissandier, The Eiffel Tower: A Description of the Monument, its Construction, its Machinery, its Object, and its Utility<\/em>, p. 84.<\/p>\n\n\n\n

[10]<\/sup><\/a> William Thompson, \u201c\u2018The Symbol of Paris\u2019: Writing the Eiffel Tower,\u201d The French Review <\/em>73, no. 6 (May, 2000): 1132.<\/p>\n\n\n\n

[11]<\/sup><\/a> Thompson. \u201cThe Symbol of Paris,\u201d p. 1131.<\/p>\n\n\n\n

[12]<\/sup><\/a> Miriam R. Levin, \u201cWhen the Eiffel Tower Was New: French Visions of Progress at the Centennial of the Revolution,\u201d in Elise K. Kenney, ed., When the Eiffel Tower Was New<\/em> (South Hadley: Mount Holyoke College Art Museum, 1989), p. 12. <\/p>\n\n\n\n

[13]<\/sup><\/a> Sonya Stephens, \u201cFraming the Eiffel Tower: From Postcards to Postmodernism,\u201d in Natalie Edwards, Ben McCann, and Peter Poiana, eds., Framing French Culture <\/em>(Adelaide: University of Adelaide, 2015), p. 135. <\/p>\n\n\n\n

[14]<\/sup><\/a> Roland Barthes, The Eiffel Tower, and other Mythologies<\/em>, trans. Richard Howard (Berkeley: University of California Press, 1997), pp. 3-17.<\/p>\n\n\n\n

\u53c3\u8003\u8cc7\u6599<\/strong><\/p>\n\n\n\n

Billington, David P. The Tower and the Bridge<\/em>. New York: Basic Books, Inc., 1983.<\/p>\n\n\n\n

Barthes, Roland. The Eiffel Tower and Other Mythologies<\/em>. Translated by Richard Howard. Berkeley: University of California Press, 1997.<\/p>\n\n\n\n

Levin, Miriam R. \u201cWhen the Eiffel Tower Was New: French Visions of Progress at the Centennial of the Revolution.\u201d in Elise K. Kenney ed. When the Eiffel Tower Was New<\/em> (South Hadley: Mount Holyoke College Art Museum, 1989), pp. 11-46.<\/p>\n\n\n\n

Loyrette, Henri. Gustave Eiffel. <\/em>New York: Rizzoli, 1985.<\/p>\n\n\n\n

Stamper, John W. \u201cThe Galerie des Machines of the 1889 Paris World\u2019s Fair.\u201d Technology and Culture<\/em> 30, no. 2 (1989): 330-53.<\/p>\n\n\n\n

Stephens, Sonya. \u201cFraming the Eiffel Tower: From Postcards to Postmodernism,\u201d in Natalie Edwards, Ben McCann and Peter Poian eds. Framing French Culture<\/em>. (Adelaide: University of Adelaide Press, 2015), pp. 129-155.<\/p>\n\n\n\n

Thompson, William. \u201c\u2018The Symbol of Paris\u2019: Writing the Eiffel Tower,\u201d The French Review<\/em> 73, no. 6 (May, 2000): 1130-40.<\/p>\n\n\n\n

Tissandier, Gaston. The Eiffel Tower: A Description of the Monument, its Construction, its Machinery, its Object, and its Utility.<\/em> London: Sampson Low, Marston, Searle, & Rivington, 1889.<\/p>\n\n\n\n

Travis, David. \u201cIn and of the Eiffel Tower.\u201d Art Institute of Chicago Museum Studies<\/em> 13, no. 1 (1987): 5-23.<\/p>\n\n\n\n

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