贡布里希对柏拉图艺术观念的反驳和回应

发布时间：2018-05-08 07:06

本文选题：柏拉图 + 贡布里希　；参考：《上海师范大学》2014年硕士论文

【摘要】：自古希腊开始,“艺术摹仿自然”的艺术观念不但深入人心,而且也是柏拉图“理念论”的重要组成部分。这种观念在西方艺术历史长河中不断遭到各种各样的肯定、否定以及限定。而到了近代,贡布里希对于该种观念进行了深入的考察,并针对性地提出了自己的看法。本文分四部分：第一部分着重考察“摹仿论”渊源和类型,在希腊哲学家看来,“摹仿”与“技艺”密切相关。柏拉图并不否认“摹仿性”技艺的创造性和积极意义。但是他始终认为,“摹仿性”艺术与“理念”两度离异。柏拉图以著名的“床论”阐释了“艺术”与现实的关系。在艺术领域,他区分了两类“摹仿”：“复制艺术”和“幻象艺术”。 “摹仿论”对于西方艺术观念的影响是是巨大的。从亚里士多德到文艺复兴,艺术家们无不追寻着柏拉图的信念。而文艺复兴之后,“幻觉主义”作为绘画艺术的经典理论一直延续下来。第二部分：贡布里希对于柏拉图“摹仿”理论的回应。贡布里希从两方面对于柏拉图的“摹仿艺术”做了回应：第一、贡布里希认为,在“摹仿”和“现实”中间有一个模糊的中间地带,即“替代”,正是因为一种功能性的“替代”使得艺术成为可能,而“替代”也成为风格演化的动力。第二、纯粹的摹仿本身就是不可能的,所有的“看”都是基于某种心理机制之上的,都是带有某种解释的。第三部分着重继续阐述柏拉图与贡布里希对于“看”的不同理解。在贡布里希看来,所谓的艺术“错觉”并不是人心灵低劣部分的反应,而是一种可以控制和利用的心理定向。第四部分讨论艺术的“价值”,艺术究竟先有自身价值还是先具备特殊的功用,而后才发展出一种独立价值?这是柏拉图与贡布里希之间的最大分歧,贡布里希在认为“艺术”这个的词范畴总是不断漂移和滑动的,因此总是尽量避免讨论一种“本质主义”的艺术。事实上,他甚至不承认有一种所谓“大写”的艺术。
[Abstract]:Since ancient Greece, the artistic concept of "art imitating nature" has not only been deeply rooted in people's heart, but also an important part of Plato's "theory of idea". This concept in the long history of Western art is constantly met with a variety of positive, negative and limited. In modern times, Gombrich made a thorough investigation of this concept and put forward his own views. This paper is divided into four parts: the first part focuses on the origin and types of "imitation theory". In the view of Greek philosophers, "imitation" is closely related to "skill". Plato does not deny the creative and positive significance of imitating skills. But he always believed that "imitation" art and "idea" divorced twice. Plato explained the relationship between art and reality with the famous "bed theory". In the field of art, he distinguishes two types of imitation: the art of reproduction and the art of illusion. The influence of mimicry on western artistic concept is great. From Aristotle to the Renaissance, artists pursued Plato's beliefs. After the Renaissance, hallucinism as a classic painting art theory has been continued. The second part: Gombrich's response to Plato's "imitation" theory. Gombrich responds to Plato's "imitation art" from two aspects: first, Gombrich believes that there is a vague middle ground between "imitation" and "reality", that is, "substitution". It is because of a functional substitution that makes art possible, and substitution becomes the driving force of style evolution. Second, pure imitation itself is impossible, all "look" is based on some psychological mechanism, with some explanation. The third part focuses on Plato and Gonbridge's different understanding of "see". In Gombrich's view, the so-called "illusion" of art is not a response to the inferior part of the human mind, but a psychological orientation that can be controlled and utilized. The fourth part discusses the "value" of art, whether art has its own value or has a special function first, and then develop a kind of independent value? This is the greatest difference between Plato and Gombrich, who thinks that the word category of "art" is always drifting and sliding, so he always tries to avoid discussing a kind of "essentialism" art. In fact, he did not even admit that there was an art called capitalization.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J0

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