Hildebrand R
Westfälische Wilhelms-Universität Münster Institut für Anatomie.
Sudhoffs Arch. 1994;78(2):129-53.
When during the last three decades of the 19th century German clinical medicine was established as a natural science anatomy e.g. was referred to as a model on this way. At that time this discipline, however, was delved into Richtungskämpfe between evolutionary morphology on the one side and physiological and clinically orientated anatomy on the other, comprising a discussion on the Wissenschaftlichkeit of the different directions. In the end anatomy evolved as a medical discipline leaving evolutionary morphology to the zoologists. Concomitantly with this change in the self-conception of the discipline as a natural science anatomy was charged with the imprinting of the prospective physician and his picture of the human being. This respective picture is analysed in the anatomical illustration from Vesalius up to nowadays considering the unity of art and anatomy in the visual media as well as in its disjunction. In this context the dominance of science on art in the service of anatomy is discussed with special reference to the neoclassical influence on further development. The latter is characterized by an increasing abstraction and diagrammatic representation of the human figure referring to man as a reparable electrochemical machine without mystery. This corresponds to a clinical medicine comprehending as a reparative and mechanical profession. The restoration of a humane picture of the human being may be achieved by an anatomy directed to life and an art extended to an anthropological conception.
在19世纪的最后三十年里，德国临床医学被确立为一门自然科学，例如解剖学就被视为这方面的典范。然而，在那个时候，这门学科陷入了一场方向之争，一方是进化形态学，另一方是生理和临床导向的解剖学，其中包括对不同方向科学性的讨论。最终，解剖学发展成为一门医学学科，而将进化形态学留给了动物学家。随着该学科自我认知从自然科学转变，解剖学被赋予了塑造未来医生及其对人体认知的使命。从维萨里时代至今的解剖学插图中，结合视觉媒介中艺术与解剖学的统一及分离，对这种人体认知进行了分析。在此背景下，特别参照新古典主义对后续发展的影响，探讨了为解剖学服务时科学对艺术的主导地位。后者的特点是人体形象的抽象化和图表化呈现日益增加，将人视为一台可修复的、没有神秘之处的电化学机器。这与将临床医学理解为一门修复性和机械性职业相呼应。通过一门面向生命的解剖学和一种扩展到人类学概念的艺术，或许能够恢复对人体的人文认知。
