艺术意志与观者：李格尔的艺术史论研究
发布时间：2019-06-15 00:36
【摘要】：中国学术界对德语国家重要艺术史家和艺术史研究的了解往往来自于英美两地的德裔学者,他们的思想和研究不仅构筑了战后英语世界艺术史研究的基础,同时也在某种程度上影响了中国学者。诸如帕诺夫斯基、贡布里希等学者的思想一度成为中国学界的显学。近些年来,伴随英美国家对德国艺术史学思想的挖掘,多部德语著作又得以以英文版面世,使得一批重要思想家又被重新提起,李格尔便在此行列。伴随新研究的展开,李格尔的学术语境与研究主旨也逐渐明晰。阿洛伊斯·李格尔作为维也纳艺术史学派的代表以及“艺术科学”的积极建构者成为艺术史研究领域无法绕行的重要学者,后来的研究者大都对李格尔及其理论展开论述。对于当代西方与中国艺术理论与艺术史研究来说,李格尔关于艺术本质的思考、关于艺术理论体系的构建以及具体艺术史研究方法都具有不可忽视的价值,包括“艺术意志”、“艺术价值与历史价值”、“观者与观看”等等术语对于构建当代艺术理论体系与艺术史研究具有重要的标识作用。因此,基于李格尔的研究现状以及当代艺术理论所面临的诸多问题,向中国艺术研究领域介绍有关李格尔的最新研究成果以及西方对李格尔理论遗产的重新评估就显得尤为必要了。因为李格尔有关艺术史研究的诸多讨论不仅仅带来了必要的知识,而且也为不同时代理解艺术的本质以及艺术作品阐释的具体方法提供了参照。所以,重新进入李格尔的理论体系,重新思考触觉的与视觉的、近距离观看与远距离观看、观者与艺术作品、艺术价值与历史价值、艺术意志等等术语之间的关联性,对于力图建构具有独特属性的中国艺术史与艺术理论研究而言是极为必要的。作为十九世纪末德语国家最为重要的艺术史、艺术理论家,李格尔庞大的理论体系和深邃的哲学思考已经重新得到西方学者的重视,而力图构建自身独特属性的中国学术语境也需要关注李格尔的思想。本文着重于李格尔构建的观者身份以及艺术作品与观看所构成的关联语境,并认为观者与观看是李格尔整个理论体系的基石,包括触觉的和视觉的、形式、风格等等术语都是构建在观者基础之上的。可以说,只有我们充分理解观者是如何被李格尔构建出来的,观者出现在艺术作品的分析当中具有何种意义,观者如何激活艺术形式等等问题,才能真正触碰到李格尔所谓的“艺术意志”。因此,本文以艺术意志作为设问而观者与观看的视觉场作为解题思路,对李格尔思想中的主旨问题展开研究。
[Abstract]:The understanding of important art historians and art history studies in German-speaking countries in Chinese academic circles often comes from German scholars in Britain and the United States. Their ideas and studies not only build the basis for the study of art history in the post-war English world, but also influence Chinese scholars to some extent. The ideas of scholars such as Panofsky and Gombrich once became prominent in Chinese academic circles. In recent years, with the excavation of German art historiography in Britain and the United States, many German works have been published in English, and a number of important thinkers have been mentioned again, and Ligger has been among them. With the development of new research, Ligger's academic context and research purport are gradually clear. Aloys Ligger, as the representative of Vienna School of Art History and the active builder of "Art Science", has become an important scholar who can not bypass the field of art history research. later, most of the researchers discussed Li GE and his theory. For the study of contemporary western and Chinese art theory and art history, Li GE's thinking on the essence of art, the construction of art theory system and the research methods of specific art history have important value, including "artistic will", "artistic value and historical value", "viewer and watch" and so on, which play an important role in the construction of contemporary art theory system and art history research. Therefore, based on the present situation of Ligger's research and many problems faced by contemporary art theory, it is particularly necessary to introduce the latest research results of Ligger to the field of Chinese art research and the reevaluation of Legend's theoretical heritage in the West. Because Ligger's many discussions on the study of art history not only bring the necessary knowledge, but also provide a reference for different times to understand the nature of art and the specific methods of interpretation of artistic works. Therefore, it is very necessary to re-enter the theoretical system of Li GE, to rethink the relationship between tactile and visual, close viewing and long distance viewing, viewer and artistic work, artistic value and historical value, artistic will and so on, which is very necessary to construct the research of Chinese art history and art theory with unique attributes. As the most important art history of German-speaking countries at the end of the 19th century, Li Gale's huge theoretical system and profound philosophical thinking have been paid more attention to by western scholars, and the Chinese academic context, which tries to construct its own unique attributes, also needs to pay attention to Ligger's thought. This paper focuses on the identity of the viewer and the relevance context between the works of art and viewing, and holds that the viewer and the viewing are the cornerstone of the whole theoretical system of Ligger, including tactile and visual, form, style and other terms are built on the basis of the viewer. It can be said that only when we fully understand how the viewer is constructed by Legel, what the significance of the viewer appears in the analysis of artistic works, how to activate the artistic form, and so on, can we really touch Ligger's so-called "artistic will". Therefore, this paper takes the artistic will as the question and the visual field of viewing as the way of thinking to solve the problem, and studies the purport of Ligger's thought.
【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】：J110.9
，
本文编号：2499832
[Abstract]:The understanding of important art historians and art history studies in German-speaking countries in Chinese academic circles often comes from German scholars in Britain and the United States. Their ideas and studies not only build the basis for the study of art history in the post-war English world, but also influence Chinese scholars to some extent. The ideas of scholars such as Panofsky and Gombrich once became prominent in Chinese academic circles. In recent years, with the excavation of German art historiography in Britain and the United States, many German works have been published in English, and a number of important thinkers have been mentioned again, and Ligger has been among them. With the development of new research, Ligger's academic context and research purport are gradually clear. Aloys Ligger, as the representative of Vienna School of Art History and the active builder of "Art Science", has become an important scholar who can not bypass the field of art history research. later, most of the researchers discussed Li GE and his theory. For the study of contemporary western and Chinese art theory and art history, Li GE's thinking on the essence of art, the construction of art theory system and the research methods of specific art history have important value, including "artistic will", "artistic value and historical value", "viewer and watch" and so on, which play an important role in the construction of contemporary art theory system and art history research. Therefore, based on the present situation of Ligger's research and many problems faced by contemporary art theory, it is particularly necessary to introduce the latest research results of Ligger to the field of Chinese art research and the reevaluation of Legend's theoretical heritage in the West. Because Ligger's many discussions on the study of art history not only bring the necessary knowledge, but also provide a reference for different times to understand the nature of art and the specific methods of interpretation of artistic works. Therefore, it is very necessary to re-enter the theoretical system of Li GE, to rethink the relationship between tactile and visual, close viewing and long distance viewing, viewer and artistic work, artistic value and historical value, artistic will and so on, which is very necessary to construct the research of Chinese art history and art theory with unique attributes. As the most important art history of German-speaking countries at the end of the 19th century, Li Gale's huge theoretical system and profound philosophical thinking have been paid more attention to by western scholars, and the Chinese academic context, which tries to construct its own unique attributes, also needs to pay attention to Ligger's thought. This paper focuses on the identity of the viewer and the relevance context between the works of art and viewing, and holds that the viewer and the viewing are the cornerstone of the whole theoretical system of Ligger, including tactile and visual, form, style and other terms are built on the basis of the viewer. It can be said that only when we fully understand how the viewer is constructed by Legel, what the significance of the viewer appears in the analysis of artistic works, how to activate the artistic form, and so on, can we really touch Ligger's so-called "artistic will". Therefore, this paper takes the artistic will as the question and the visual field of viewing as the way of thinking to solve the problem, and studies the purport of Ligger's thought.
【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】：J110.9
，
本文编号：2499832
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