李格尔“艺术意志”与沃林格尔“形式意志”的比较研究

发布时间：2018-04-21 22:38

本文选题：艺术意志 + 形式意志　；参考：《湘潭大学》2008年硕士论文

【摘要】： 在19—20世纪之交,奥地利艺术史学家阿洛斯·李格尔的“艺术意志”论彻底动摇了传统的艺术观念,为艺术和美学领域带来了新鲜的血液。李格尔想提醒人们,理解艺术史,核心问题不在于表明艺术表现出了什么样的过程,而在于表明艺术为什么会显示出这样的过程。他认为,主宰艺术创作活动的是一种人根据特定历史条件与世界相抗衡的“艺术意志”,艺术家的创造本能和创造冲动就是艺术意志的真正内涵,是艺术史最本质的活力。因而,艺术史研究应该揭示各时代、各民族特定的“艺术意志”为主要课题。艺术史研究需要发现艺术创作背后的一些独特的心理因素和世界观念。李格尔的“艺术意志”不是一种心理上的实在,大致可以理解为:源于一个时期在一定社会范围内的人类所具有的艺术意图的综合。这种“艺术意志”被另一位德国美学和艺术理论家威廉·沃林格尔接受,并将其进一步发展为“形式意志”。沃林格尔认为,决定艺术活动的“艺术意志”来自于人在日常生活中处世观物所形成的对世界的一种理解和心态,即“世界感”。他的“形式意志”可以这样描述:一种植根于“世界感”的,先验的,不以人的即时状态和意志为转移的,内在的对艺术形式的需求。它通常被移情冲动所掩盖,而与抽象冲动相契合。 “形式意志”对“艺术意志”既有接受又有超越。与后者相比,前者更强调自身的绝对本体性,对“艺术意志”概念的理解变得更加深入和主观化,拓展了“艺术意志”的意义。李格尔与沃林格尔两位艺术理论与艺术史家还根据自己的理论,分别在实践方面进行了宝贵的延伸和拓展,完成了《晚期罗马的工艺美术》和《哥特形式论》。这种艺术领域的“意志论”具有相当深厚的“意志哲学”根底,也受到了现代科学学科的一些启发,不仅对西方,而且对东方世界也产生了巨大的影响。这种“意志论”承认艺术形式的自律性,明确地昭示它与西方形式主义美学传统的联系纽带。尽管这种理论并不十分完善,但它为人们理解艺术提供了新的广阔的视野,也使西方传统的形式主义美学原则在现代绵延新生。
[Abstract]:At the turn of the 19-20 century, Austrian art historian Alos Ligel's "artistic will" theory completely shook the traditional artistic concept and brought fresh blood to the field of art and aesthetics. Ligel wanted to remind people that the central question in understanding art history is not to show what process art is showing, but to show why art shows such a process. In his opinion, what dominates artistic creation activities is a kind of "artistic will" in which people compete with the world according to specific historical conditions. The creative instinct and creative impulse of artists are the true connotations of artistic will and the most essential vitality of art history. Therefore, the study of art history should reveal that the specific "artistic will" of each nation is the main subject. The study of art history needs to discover some unique psychological factors and world concepts behind artistic creation. Ligel's "artistic will" is not a kind of psychological reality, it can be roughly understood as the synthesis of artistic intentions of human beings in a certain social range in a certain period of time. This artistic will was accepted by William Warringer, another German aesthetic and art theorist, and further developed into formal will. According to Voringell, the "artistic will" which determines the artistic activity comes from a kind of understanding and mentality of the world formed by people in their daily life, that is, "the sense of the world". His "formal will" can be described in this way: an inherent need for artistic form rooted in a "sense of the world", transcendental, and not shifted by man's immediate state and will. It is often masked by empathy impulses and fits in with abstract impulses. "formal will" has both acceptance and transcendence to "artistic will". Compared with the latter, the former emphasizes its own absolute ontology, and the understanding of the concept of "artistic will" becomes deeper and more subjective, which expands the meaning of "artistic will". According to their own theory, Ligel and Wallingell have carried out valuable extension and expansion in practice, and have completed the arts and crafts of late Rome and Gothic form. This kind of "will theory" in the field of art has a rather deep foundation of "will philosophy", and has also been inspired by the subject of modern science, which has exerted a great influence not only on the West but also on the eastern world. This "will theory" recognizes the self-discipline of artistic form and clearly shows the link between it and the western formalism aesthetic tradition. Although this theory is not very perfect, it provides a new broad vision for people to understand art, and also makes the western traditional formalism aesthetic principles continue to renew in modern times.
【学位授予单位】：湘潭大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：J045

【引证文献】