【摘要】：本文以莫霍利-納吉的兩本重要著作《新視覺》和《運動中的視覺》為核心,結合威廉·塔克的《雕塑的語言》和羅莎琳·克勞斯的《現(xiàn)代雕塑的變遷》,對莫霍利-納吉的雕塑觀進行了討論。文章認為,納吉深受"總體藝術"論的影響,這使他的思想和實踐兼具多樣性和系統(tǒng)性的特征。他對于雕塑發(fā)展的認識雖然具有進步論的特點,但他也能夠創(chuàng)造性的把古典雕塑對光影和表現(xiàn)性理解融入到了他自己的作品中。正是這種對于價值判斷的"相對性"而非"絕對性"的強調(diào),使他的《光顯示機:動態(tài)雕塑》在羅莎琳·克勞斯的分析中成為現(xiàn)代雕塑家中利用"劇場性"的一位先驅。事實上,莫霍利-納吉遠比學界將之作為"構成主義者"的簡單歸類要復雜得多。他的總體藝術思維方式幫他建構了一個多維度的大廈,當我們在對他的某一個維度進行批評時,又總是能夠在他思考的另外一個維度上看到其思考的合理性。而且,納吉總是力求把自己對于藝術的思考與這個時代所面臨的種種現(xiàn)實問題和精神困境相聯(lián)系,這就使他的雕塑觀超越了一般意義上的技術論模式。
[Abstract]:This paper focuses on Moholy-Naji 's two important works, New Vision and Vision in Motion, combined with William Tucker's the language of Sculpture and Rosalyn Klaus's the transition of Modern Sculpture. The sculpture view of Moholly Naji is discussed. The article holds that Naji is deeply influenced by the theory of "general art", which makes his thought and practice have the characteristics of diversity and systematicness. Although his understanding of sculpture development has the characteristics of progressivism, he can also creatively integrate classical sculpture's understanding of light, shadow and expressiveness into his own works. It is this emphasis on "relativity" rather than "absoluteness" of value judgment that makes his "Light display Machine: dynamic Sculpture" a pioneer in the use of "theater" among modern sculptors in Rosalyn Klaus' analysis. In fact, Moholey Naji is far more complicated than the simple categorization of "constructivism". His general artistic thinking mode helped him to construct a multi-dimensional edifice. When we criticize one of his dimensions, we can always see the rationality of his thinking in the other dimension of his thinking. Moreover, Naji always tries to connect his thinking on art with the practical problems and spiritual difficulties in this era, which makes his sculpture view transcend the general mode of technology theory.
【作者單位】： 中央美術學院;
【分類號】：J305

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