Abstract A key question in the art debate in the eighteenth and nineteenth centuries was whether color should be used for sculpture. Recent archaeological research had shown that the sculpture in ancient Greece was polychrome, but skepticism about applying paint to one’s own work was widespread among modern sculptors. Some scholars explain this reluctance as a consequence of racial prejudice: the Greek athlete was an image of white Europeans. This article will try to show that a re-reading of Johann Gottfried Herder’s book on sculpture can give us a different and more probable explanation. Herder shared Roger de Piles’s view that the essence of sculpture was form, while color was most characteristic of painting. What set Herder apart from his predecessor, however, was his attempt to give the theory a scientific rationale. He found this in contemporary accounts of visually impaired persons’ relationship to the sensory world and not least in empiricist philosophy’s distinction between primary and secondary sensory properties.

中文翻译：

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形式重于色彩：论赫尔德的《皮格马利翁》中的主要品质和次要品质

摘要 十八、十九世纪艺术辩论的一个关键问题是雕塑是否应该使用颜色。最近的考古研究表明，古希腊的雕塑是彩色的，但现代雕塑家普遍怀疑将油漆应用于自己的作品。一些学者将这种不情愿解释为种族偏见的结果：希腊运动员是欧洲白人的形象。本文将试图表明，重读约翰·戈特弗里德·赫尔德关于雕塑的书可以给我们一个不同的、更可能的解释。赫尔德赞同罗杰·德·皮尔斯的观点，即雕塑的本质是形式，而色彩是绘画的最大特征。然而，赫尔德与他的前任的不同之处在于他试图为该理论提供科学依据。