西班牙艺术史家拉富恩特研究

发布时间：2017-12-28 05:00

  本文关键词：西班牙艺术史家拉富恩特研究　出处：《南京大学》2016年博士论文　论文类型：学位论文

  更多相关文章： 拉富恩特·费拉里 西班牙艺术史 委拉斯开兹 艺术的去人性化 生命的悲剧意识

【摘要】：恩里克·拉富恩特·费拉里是20世纪西班牙最重要的艺术史家之一。西班牙艺术史学科的建立相对较晚,作为这一学科的第二代西班牙学人,拉富恩特担负了为西班牙艺术史正名的使命,在西班牙民族艺术的叙事中发掘出其独特的美学传统和总体特征。他以“混沌而不连贯的生命性”来贯穿看似断裂无序的西班牙艺术史,对“粗野纹路”的概念进行进一步的阐释,对西班牙民族的独特审美趣味进行剖析,并结合历史指出了西班牙艺术的中世纪传统,从而揭示出西班牙艺术的特质。在强调西班牙艺术的特殊性的同时,他又指出西班牙艺术史是欧洲艺术史的一部分,对西班牙艺术的解读因而离不开欧洲背景,并且指出西班牙应当加强与欧洲邻国的艺术交流。他的艺术史写作和艺术史论的提出发生在西班牙内战后的佛朗哥专制统治时期,不得不在批判的锋芒与主流意识形态的钳制之间寻找平衡,但总体来看,拉富恩特的艺术史叙事、批评和理论是与官方话语拉开一定距离的。同时,拉富恩特的艺术史论又是站在对实证主义、庸俗社会学和形式主义艺术史论进行批判的高度上的。他坚持认为,对艺术作品的解读离不开对作品背后的人的解读。他指出,是杰出艺术家在引领艺术史的变迁,而艺术史变化的核心是不断更迭的艺术家代际；艺术史研究既离不开对艺术家个人和艺术家群体的考察,也离不开对历史情势的阐释和艺术批评。在对委拉斯开兹、戈雅和苏洛亚加这三位西班牙伟大画家的专人研究中,拉富恩特就体现了他的艺术史论观点。在对委拉斯开兹的研究中,拉富恩特叙述了画家的生平,强调委拉斯开兹致力于描绘日常生活、给予每一位入画之人以尊严,并运用“人生如梦”的哲学观点阐释了委拉斯开兹的美学。在对戈雅的研究中,拉富恩特着眼于艺术家的个性,将戈雅置于革命年代的背景中,揭示了这位西班牙艺术家的现代性。在对苏洛亚加的研究中,拉富恩特发掘出其作品中的西班牙民族个性,并肯定了这位艺术家对人性尊严的关怀。从对艺术家专人研究对象的选择可以看出,拉富恩特表现出偏保守的倾向,尤其是在面对现代艺术时。拉富恩特的艺术史论不仅秉承了他的艺术史先师,更是继承了奥尔特加和乌纳穆诺这两位西班牙重要哲学家的思想。他在新的历史语境里对奥尔特加的“艺术的去人性化”理论作了新的解读,在对走向异化的现代艺术进行批判的同时,提出艺术中人性的复归。他结合乌纳穆诺“个人拯救”的思想,提出“个人拯救的美学”、“境遇拯救的美学”的概念,在对肖像画的阐释中深化了艺术与个人生命不可分离的论点。不仅是古典绘画,在现代绘画中,他也找到了生命的表达,在米罗与纯粹抽象画派之间找出区别,建立了一种有别于“有意味的形式”的、建立在生命基础上的艺术解读范式。拉富恩特的艺术史论始终建立在关怀人性、关怀生命的基础上,对今天的人文研究仍不失其启发意义,既体现出西班牙文化思想的特色,也反映出时代形势在一个西班牙人文研究者身上所造成的矛盾。
[Abstract]:Enrique Lafuente Ferrari was one of the most important historians of art in Spain in the twentieth Century. The Spanish art history established relatively late, as the subject of the second generation of the Spanish people, responsible for the rectification of names for the Lafuente art history of Spain's mission, discover its unique aesthetic tradition and general characteristics in the Spanish National Art narrative. He takes "chaos and life" incoherent to seemingly disordered fracture through Spanish art history, further explanation of the concept of "rough lines", the Spanish nation's unique aesthetic taste are analyzed, and combined with the history of Spanish art pointed out that the medieval tradition, thus revealing the Spanish art. While emphasizing the particularity of Spanish art, he also pointed out that Spanish art history is a part of European art history. The interpretation of Spanish art is inseparable from the European background. It also points out that Spain should strengthen its artistic exchanges with European neighbors. The writing of art history and art history of his place in the Spanish Civil War after the dictatorship of Franco, had to find a balance between the edge and the mainstream ideology critique grasp, but overall, Lafuente art history and criticism and narrative theory is a certain distance with the official discourse. At the same time, Lafuente's historical theory of art is at the height of criticizing the positivism, the vulgar sociology and the formalism of the art of art. He insists that the interpretation of the works of art can not be separated from the interpretation of the people behind the work. He pointed out that outstanding artists are leading the change of art history, and the core of the change of art history is constantly changing artists. In the special research of Velazquez, Goya and Suluoyajia the three great Spanish artist, is the embodiment of his Lafuente art history view. In the study of Velazquez, Lafuente describes the painter's life, emphasizing Velazquez dedicated to depicting everyday life, give every person painting with dignity, and use the "philosophical point of view to explain the Life is but a dream. Velazquez aesthetics". In the study of Goya, focusing on the personality of the artist Lafuente, Goya will be placed at the revolution in the background of modernity reveals the Spanish artist. In the study of Suluoyajia in unearthed Lafuente in the works of Spanish national personality, and affirmed the artist of human dignity and care. From the choice of the research object of the artist, it can be seen that the tendencies are conservative, especially in the face of modern art. The art history Lafuente not only uphold the manners of his art history, is inherited from Ortega and Oon Mu Nor of the two Spanish important philosophers. In the new historical context, he made a new interpretation of Ortega's "dehumanization of art" theory, and criticized the modern art of alienation, and put forward the return of human nature in art. Combined with Oon Mu Nor's thought of "personal salvation", he put forward the concept of "aesthetics of personal salvation" and "aesthetics of circumstance salvation", which deepened the argument that art and individual life can't be separated from the interpretation of portrait. Not only is the classical painting in modern painting, he also found the expression of life, to find out the difference between Miro and pure abstractionism, established a different from the "a meaningful form", artistic interpretation in life on the basis of paradigm. The Lafuente art history has always been based on care for the humanity, care of life, the humanistic research today will not lose its significance, not only reflects the Spanish culture thought characteristic, also reflects the situation in a Spanish era between the humanities researchers who caused the.
【学位授予单位】：南京大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J205
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本文编号：1344641