论荣格“集体无意识”与艺术创作的关系

发布时间：2019-05-29 22:11

【摘要】：卡尔·荣格(Carl Gustav Jung,1875-1961),著名的瑞士分析心理学家,其心理学理论建立在社会和生物学的理论基础之上。研究范围涉及到宗教、神秘学、炼金术、艺术等方面。荣格认为想要真正了解无意识的内容则需要排除那些在他看来与梦本身没有关联性的观念和联想。在此基础上,荣格进一步地对无意识进行了划分,他认为人的精神世界有三个层次:意识,个人无意识和集体无意识。其中,“集体无意识”是荣格所有艺术观点的基础,在荣格看来“集体无意识”是一种依赖遗传和进化的,并且不依据个人的经验而独立存在的心理要素。集体无意识的中心原型则是“自性”——代表着秩序、统一和圆满,也是人类达到生活的自我实现的基础。在荣格看来,艺术创作过程以及艺术作品,都是完完全全在集体无意识的支配下所形成的,艺术家在创作的过程中是作为集体无意识的载体而存在的,其展现的是人类的原型精神,这是生命活力以及艺术创作的动力之源。同时荣格将艺术材料划分为感觉式和幻觉式这两种类型。这两种类型类似于艺术中的现实主义和抽象派。荣格将古代人和现代人的灵魂进行了对比,进而说明在文明的社会中,集体无意识的特殊意义:实现古代精神向现代精神的延续。而在艺术创作的过程中,艺术家是作为一个中介去表现古代的原型意象,我们也可以在写实的艺术风格之外,看到大量的体现原始精神的艺术作品。更为重要的是,集体无意识在现代人的精神世界中可以成为一种自我实现、自我圆满的一个出口。而且,随着时代的变化,“集体无意识”与艺术创作之间的关系也发生了变化。如果说“集体无意识”在早期更多地是提供了一种关于“无序的艺术表达”和“原始意象”的解释。那么,在二战之后的美国,“集体无意识”催化的是艺术创作中神话的主题以及对于普遍性的追求。从混乱的无意识的表达到寻求普遍性的艺术创作,我们似乎看到了两种截然不同的艺术方式。但是这背后代表的是一种共同的追求:通过返古,来追求人与自然之间,人与人之间的情感纽带和人类的精神世界。然而荣格并不认为艺术家应当作为一个个性化的个体,而在某种程度上是作为一个无意识的载体来进行艺术创作活动,否定了艺术家的创造能力。同时,随着精神分析学和社会之间的关系的发展,这种将来访者判定为病人的说法以及分析与被分析的关系也受到了怀疑。在这种情况之下我们还有没有采取这种所谓的通过一个学科去对另一个领域进行阐释的必要?是否其最终的结果是仅仅能够去丰富其中一个门类的理论框架?或者说有没有一种可能性是通过艺术的方式去触及生命体本身?对此我们可以重新梳理荣格的“集体无意识”理论与艺术创作之间的关系脉络。由此得出在新的时代背景下,“集体无意识”与艺术领域的新的联系与意义。本文一共有六章,其中第一章是绪论,主要介绍相关的研究背景和文章的重难点;第二章主要内容是介绍荣格的理论思想与艺术观点;第三章的内容是论述集体无意识与艺术创作的关系,内容侧重于早期现代主义艺术;第四章探讨的是集体无意识与艺术创作关系的新变化,着重讨论二战后美国的艺术家艺术创作;第四章的内容是关于荣格的美学观点的反思以及新的可能性,结合中国当代艺术家案例进行讨论。
[Abstract]:Carl Jung (Carl Gustav Jung,1875-1961), a well-known Swiss analysis psychologist, is based on social and biological theory. The scope of the study is related to the aspects of religion, mystique, alchemy, art and so on. Mr. Jung thought that it would be necessary to exclude the idea and association that had no relevance to the dream itself when he wanted to be truly aware of the unconscious. On this basis, Jung further divided the unconscious, and he thought that the human spiritual world had three levels: consciousness, individual unconsciousness and collective unconsciousness. Among them, the "collective unconsciousness" is the foundation of all the artistic views of Rongge, and in Jung's view, the "collective unconsciousness" is a kind of psychological factor which is independent of the heredity and the evolution, and does not exist independently according to the experience of the individual. The central archetype of the collective unconsciousness is the foundation of the "self-performance" _ representative of order, unity and perfection, and the self-actualization of human being. In Jung's view, the process of artistic creation and the art of art are all formed under the control of collective unconsciousness, and the artist is present as a carrier of collective unconsciousness in the process of creation, which shows the prototype spirit of the human being. This is the power of life and the power of artistic creation. At the same time, Jung divides the artistic material into two types of sense and illusion. These two types are similar to realism and abstract in the art. In contrast to the spirit of ancient and modern people, Jung explained the special significance of collective unconsciousness in the society of civilization: to realize the continuation of the ancient spirit to the modern spirit. In the process of artistic creation, the artist is an intermediary to express the archetypal image of the ancient, and we can also see a great deal of art of art that embodies the original spirit in addition to the realistic artistic style. More importantly, collective unconsciousness can be a self-fulfilling, self-successful export in the spiritual world of modern people. Moreover, with the change of the times, the relationship between the "collective unconsciousness" and the artistic creation has also changed. If the "collective unconsciousness" has provided an explanation of the "out-of-order artistic expression" and the "original image" in the early stage, Then, in the United States after World War II, the "collective unconsciousness" is the theme of the myth in the creation of art and the pursuit of universality. From the unconsciousness of chaos to the pursuit of universal artistic creation, we seem to have seen two distinct ways of art. But there is a common pursuit: by returning to the ancient times, to pursue the emotional bonds between man and nature, between man and man, and the spiritual world of man. However, Jung did not think that the artist should act as a personalised individual and, to some extent, as an unconscious carrier for artistic creation, denied the artist's creative ability. At the same time, with the development of the relationship between the psychoanalysis and the society, it is also suspected that the visitor's assertion as a patient and the relationship between the analysis and the analysis are also suspected. In this case, there is no need for this so-called passage of a subject to the interpretation of another area? Whether or not the final result is to be able to enrich the theoretical framework of one of the categories? Or is there a possibility that the living body itself can be touched by means of art? In this regard, we can re-sort the relationship between the "collective unconsciousness" theory and the artistic creation. Therefore, it is concluded that in the new era, the new relation and meaning in the field of "collective unconsciousness" and art. In this paper, there are six chapters, in which the first chapter is the introduction, the main introduction of the relevant research background and the difficulty of the article; the second chapter is the introduction of the theory and the artistic point of the Jung; the content of the third chapter is to discuss the relationship between the collective unconsciousness and the artistic creation. The content is focused on the early modernism art; the fourth chapter discusses the new change of the relationship between the collective unconsciousness and the artistic creation, and focuses on the artistic creation of the American artists after the Second World War; and the content of the fourth chapter is the reflection on the aesthetic point of the Jung and the new possibilities. Discuss the case of contemporary Chinese artists.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J04

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