15世纪人文主义者莱昂·巴蒂斯塔·阿尔贝蒂（Leon Battista Alberti)是一位在建筑学、修辞学、数学、伦理学、工程学等诸多方面有着非凡成就的“全才”，他于1435年撰写的三卷本《论绘画》开辟了人文主义绘画理论。已有的《论绘画》研究主要关注在阿尔贝蒂以几何元素构建的绘画透视正法。然而阿尔贝蒂的historia概念对于西方绘画的影响不亚于他总结的线性透视理论对于文艺复兴及之后时期艺术的指引。事实上，17世纪学院派绘画所主张的“历史画”（history painting）类型，正来自阿尔贝蒂的historia概念。相较起来，线性透视更侧重于绘画的方法和基础表现，historia则涉及到绘画最高理想以及绘画艺术的目的。两者各有侧重又互为补充，是阿尔贝蒂绘画理论的两个突出贡献。结合国内外研究现状，针对现有研究中较为薄弱的研究方向，本文将阿尔贝蒂的historia概念设置为研究的核心问题，联系《论绘画》全书，试图还原一个以historia概念为中心的更为完整的阿尔贝蒂绘画理论。纵观全书，historia是一个不可忽视的原创性概念。当前研究认为，historia概念的建立涉及借助参考了修辞学的语法结构，基于文法生成的historia是“故事”（storia）的同义词。本文旨在澄清阿尔贝蒂《论绘画》的historia概念，从三卷本文本出发，指出historia是一个基于数学几何逻辑生成的概念，其叙事性要突出于故事性。在艺术风格上，基于线性透视原理，借助“窗”、“纱屏”等绘画工具实现的historia绘画，兼有着自然的写实风格和作用于心灵的审美追求，以艺术形式体现了科学理性秩序和视觉感官美感的最高结合。阿尔贝蒂作为历史上第一位为绘画艺术写作的人文主义学者，其绘画理论具有强烈的人文主义特征。他的historia概念传达了人文主义的绘画理想，体现了一种独特的“更为感官化的智慧”。借助历史现象学的思想理路，本文认为historia概念的提出有着哲学上的贡献，绘画以追求historia为最高目标也就相当于画家站在从他所处的时代在试图不停地向前回望，阿尔贝蒂利用《论绘画》中的historia概念为这种回望的意图提供了技术手段，也提供了具有时代价值的本源性意义上的支撑。
The fifteenth-century humanist Leon Battista Alberti, a l‘uomo universale with extraordinary achievements in architecture, rhetoric, mathematics, ethics, engineering, and many other aspects. His three-volume On Painting, written in 1435, pioneered the humanism theory of painting. Alberti's perspective method has been the mainstream in the research on On Painting. However, the impact of Alberti's concept of historia on Western painting is no less than the linear perspective theory he summarized guided the art of the Renaissance and beyond. In fact, the history painting genre advocated by academic painting in the 17th century came from Alberti's historia. In comparison, linear perspective focuses more on the methods and basic expressions of painting, while historia involves the highest ideal of painting and the purpose of painting art. They are two outstanding contributions of Alberti's painting theory. Combining the current research, in view of the weak research direction of existing research on On Painting, this article sets Alberti's concept of historia as the core issue of the research, and connects with the entire On Painting to try to restore a more complete theory of Alberti's painting. Throughout the book, historia is an original concept that cannot be ignored. Existing studies believe that the establishment of the concept of historia referring to rhetorical structures, and the historia generated based on grammar is a synonym for "storia"(story). This article aims to clarify the concept of historia in Alberti's On Painting and respond to many existing research problems. It believes that historia is a concept generated based on mathematical geometric logic, it’s a more narrative concept than as a story. In terms of artistic style, based on the principle of linear perspective and with the help of painting tools such as "window" and "veil", a historia have both a natural realistic style and an aesthetic pursuit that affects the soul. It embodies the scientific rational order and vision in the form of art. The ultimate combination of sensual beauty. As the first humanist scholar in history to write about the art of painting, Alberti's painting theory has strong humanistic characteristics. His concept of historia conveys the humanistic ideal of painting and embodies a sense of “more senate wisdom”. With the help of the ideological theory of historical phenomenology, this article believes that the concept of historia has a philosophical contribution. The pursuit of historia as the highest goal of painting shows that the painter standing from the era in which he lives and trying to look back constantly. The concept of historia by Alberti in On Painting provides a technical means for this intention of looking back, and also provides an original support with value of times.
