本文選題：審美直覺(jué) + 格式塔心理學(xué)��； 參考：《吉林大學(xué)》2017年博士論文

【摘要】：魯?shù)婪颉ぐ⒍骱Ｄ肥俏鞣浆F(xiàn)代美學(xué)史上著名的格式塔心理學(xué)美學(xué)家。在他七十多年的學(xué)術(shù)生涯中,他為美學(xué)、藝術(shù)心理學(xué)、藝術(shù)教育、以及新媒體領(lǐng)域都做出了突出的貢獻(xiàn)。二十世紀(jì)八十年代,由于阿恩海姆在現(xiàn)代西方美學(xué)史上的重要地位而引起中國(guó)學(xué)者的極大興趣。隨著當(dāng)代中國(guó)興起的第三次“美學(xué)熱”,阿恩海姆的多部著作被引進(jìn)中國(guó)。阿恩海姆的理論延續(xù)了自德國(guó)美學(xué)家、心理學(xué)家費(fèi)希納開創(chuàng)的“通過(guò)實(shí)驗(yàn)心理學(xué)方法研究審美現(xiàn)象”的研究方式。他的美學(xué)理論通過(guò)推理論證審美經(jīng)驗(yàn),并憑借格式塔心理學(xué)原理和實(shí)驗(yàn)方法剖析審美現(xiàn)象,為現(xiàn)代西方美學(xué)的發(fā)展,開通了一條將思維推理的批判哲學(xué)和分析現(xiàn)象經(jīng)驗(yàn)的心理學(xué)方法相結(jié)合的美學(xué)研究道路。國(guó)內(nèi)對(duì)阿恩海姆的美學(xué)理論多從審美知覺(jué)、藝術(shù)構(gòu)成、創(chuàng)造性思維等角度進(jìn)行研究,雖然取得了豐富的成果,但是還缺乏對(duì)阿恩海姆整個(gè)審美直覺(jué)理論體系的結(jié)構(gòu)性梳理。鑒于此,本文將以阿恩海姆的《藝術(shù)與視知覺(jué)》、《視覺(jué)思維——審美直覺(jué)心理學(xué)》、《審美心理學(xué)新論》等相關(guān)文本為基礎(chǔ),對(duì)阿恩海姆的審美直覺(jué)心理學(xué)理論的整體結(jié)構(gòu)和關(guān)鍵環(huán)節(jié)等問(wèn)題進(jìn)行闡釋。全文除序言外分三部分。第一部分主要研究視知覺(jué)在審美活動(dòng)中的功能,以及在審美直覺(jué)中,視知覺(jué)的活動(dòng)方式和關(guān)鍵環(huán)節(jié)。在視知覺(jué)活動(dòng)的研究中,阿恩海姆通過(guò)批判傳統(tǒng)觀念對(duì)視知覺(jué)的錯(cuò)誤認(rèn)識(shí),揭示出視知覺(jué)具有與思維相同的功能。眼睛是人類觀看外部世界的唯一途徑,但是傳統(tǒng)理論認(rèn)為,視知覺(jué)只能獲得感性經(jīng)驗(yàn),并交由大腦處理來(lái)完成對(duì)事物的認(rèn)識(shí)。在這里阿恩海姆重新闡釋了視知覺(jué)在認(rèn)識(shí)活動(dòng)中的作用,并且進(jìn)一步揭示了視知覺(jué)本身具有處理問(wèn)題的能力。視知覺(jué)對(duì)問(wèn)題的處理能力,從淺層來(lái)看,它可以對(duì)事物突出特點(diǎn)的把握來(lái)達(dá)成對(duì)事物全貌的把握,并且能夠在觀察到難以識(shí)別的形狀時(shí),通過(guò)調(diào)整眼球自身達(dá)到可以對(duì)模糊形狀識(shí)別的狀態(tài);從深層次來(lái)看,視知覺(jué)具有對(duì)事物的知覺(jué)式樣進(jìn)行改造的能力,這就是視知覺(jué)的格式塔傾向。通過(guò)這個(gè)能力,視知覺(jué)可以將不穩(wěn)定的形式重新進(jìn)行組織,改造成更適合識(shí)別的狀態(tài)。從對(duì)視知覺(jué)的格式塔傾向的研究,阿恩海姆又進(jìn)一步揭示出藝術(shù)品本身也服從著相同的組織規(guī)律。在對(duì)視知覺(jué)與藝術(shù)品的組織規(guī)律的闡釋中,阿恩海姆運(yùn)用格式塔心理學(xué)的“力”、“場(chǎng)”、“異質(zhì)同構(gòu)”等理論進(jìn)一步闡釋了視知覺(jué)在直覺(jué)活動(dòng)中怎樣完成對(duì)藝術(shù)品美感的獲得以及審美情感產(chǎn)生的內(nèi)在原因。第二部分主要研究審美直覺(jué)活動(dòng)中的意象。阿恩海姆通過(guò)對(duì)視知覺(jué)的活動(dòng)方式以及美感發(fā)生機(jī)理的研究,進(jìn)一步確立了意象在審美活動(dòng)中的地位。阿恩海姆在視知覺(jué)的研究中得出了這樣的結(jié)論:視知覺(jué)與思維是通過(guò)意象進(jìn)行連接的,并且任何思維活動(dòng)都包含著意象。從古希臘到近代,“意象”始終是審美領(lǐng)域的重要范疇。阿恩海姆結(jié)合格式塔心理學(xué)理論發(fā)現(xiàn)了相關(guān)理論的不足。阿恩海姆認(rèn)為:自德謨克利特學(xué)派開始,“意象”始終被認(rèn)為是觀察對(duì)象在心理中生成的對(duì)應(yīng)物,它是對(duì)觀察對(duì)象完整的復(fù)制。而阿恩海姆通過(guò)對(duì)視知覺(jué)的組織能力的研究發(fā)現(xiàn)事實(shí)并非如此。意象是視知覺(jué)在事物的表象上進(jìn)行抽象產(chǎn)生的結(jié)果,它并非對(duì)事物忠實(shí)完整的復(fù)制,而是視知覺(jué)對(duì)事物本質(zhì)結(jié)構(gòu)的把握。意象在思維中具有三種功能,分別是“繪畫”、“符號(hào)”和“記號(hào)”。這三種功能分別代表了感性形象在思維中由高到低的三種抽象程度。阿恩海姆結(jié)合思維在不同抽象程度上的活動(dòng)方式,進(jìn)一步揭示了意象在創(chuàng)造性思維中的功能和作用。第三部分研究“意象”的生發(fā)機(jī)制,也就是視知覺(jué)的“抽象”能力。阿恩海姆通過(guò)“抽象”來(lái)論證意象的產(chǎn)生方式,有其深刻的歷史原因。20世紀(jì)西方美學(xué)從沃林格之后,眾多學(xué)派闡發(fā)了他們對(duì)“抽象”的研究。阿恩海姆在批判繼承其他學(xué)派的審美抽象理論以及科學(xué)抽象理論的基礎(chǔ)上,提出了他的抽象方法。他在《視覺(jué)思維》中批判了其他學(xué)派將“抽象”與“具體”對(duì)立起來(lái)的觀念,并認(rèn)為抽象活動(dòng)并不能通過(guò)“概括”來(lái)完成。他通過(guò)對(duì)視知覺(jué)自身能力的分析,創(chuàng)造性的揭示了通過(guò)視知覺(jué)在事物表象上直接進(jìn)行“抽象”的規(guī)律,并通過(guò)這種揭示將感性認(rèn)識(shí)與理性認(rèn)識(shí)作了統(tǒng)一的理解。在此基礎(chǔ)上,阿恩海姆認(rèn)為:任何理性活動(dòng)都需要以感性的知覺(jué)活動(dòng)為基礎(chǔ),并且視知覺(jué)可以直接達(dá)成對(duì)本質(zhì)的把握。以此為依據(jù),他批判了一些美學(xué)學(xué)派和藝術(shù)理論將“抽象”等同于脫離本質(zhì)的弊端。阿恩海姆的審美直覺(jué)心理學(xué)理論從經(jīng)驗(yàn)實(shí)證和邏輯思辨的角度,闡明了直覺(jué)與理性是人類認(rèn)識(shí)活動(dòng)中不可分割的兩個(gè)組成部分;揭示了知覺(jué)與思維在認(rèn)識(shí)活動(dòng)中協(xié)調(diào)合作的方式;指出了直覺(jué)并不是非理性、不可靠的認(rèn)識(shí)方法;糾正了自古希臘以來(lái)將知覺(jué)與思維割裂、把知覺(jué)視作比思維低等片面性的看法。阿恩海姆通過(guò)對(duì)直覺(jué)深入的研究,一定程度上緩和了思辨美學(xué)和經(jīng)驗(yàn)實(shí)證美學(xué)的分歧,為推進(jìn)現(xiàn)代西方美學(xué)的發(fā)展做出了突出的貢獻(xiàn)。
[Abstract]:Rudolf Arnheim is a famous Gestalt psychology aesthecio in the history of modern western aesthetics. During his more than 70 years' academic career, he made outstanding contributions to the fields of aesthetics, art psychology, art education and new media. In 1980s, Arne Heim was important in the history of modern western aesthetics. As a result of the great interest of Chinese scholars, with the rise of the third "aesthetic heat" of contemporary China, many of Arne Heim's works have been introduced to China. Arne Heim's theory extends the study of "the study of aesthetic phenomena through experimental psychological methods" created by the German aesthetical and psychologist Fechner. His aesthetic theory Through reasoning and reasoning the aesthetic experience, and using the Gestalt psychology principle and experimental method to analyze the aesthetic phenomenon, and for the development of modern western aesthetics, it opens a way of aesthetic study which combines the critical philosophy of thinking reasoning with the psychological method of analyzing the phenomenon experience. The aesthetic theory of Arne Heim is more aesthetic perception in the country, The study of artistic composition and creative thinking has made a lot of achievements, but there is no structural combing of the whole aesthetic intuition system of Arne Heim. In view of this, this article will take Arne Heim's "art and visual perception", "visual thinking", "aesthetic intuition psychology >", "aesthetic psychology new theory" and other related texts. On the basis of this, the whole structure and key links of Arne Heim's aesthetic intuition psychology theory are explained. The full text is divided into three parts except preface. The first part mainly studies the function of visual perception in aesthetic activities, and the way and key link of visual perception in aesthetic intuition. By criticizing the wrong perception of visual perception by criticizing the traditional ideas, it reveals that visual perception has the same function as thinking. The eye is the only way for human to watch the external world. However, the traditional theory holds that perception can only gain perceptual experience and the brain is treated to complete the understanding of things. Here Arne Heim explains again. It explains the role of visual perception in cognitive activities, and further reveals the ability of visual perception to deal with problems. The ability to handle problems by visual perception, from the shallow level, can grasp the outstanding features of things to achieve the full picture of things, and can adjust their eyes when they observe the difficult shape. The ball itself reaches the state that can be recognized by the fuzzy shape; from the deep point of view, the visual perception has the ability to transform the perceptual pattern of the thing, which is the tendency of the gestalt of visual perception. Through this ability, the visual perception can reorganize the unstable form and transform it into a more suitable state. From the lattice of visual perception. In the study of the tendencies of the type tower, Arnheim further reveals that the art itself also obeys the same rules of organization. In the interpretation of the organizational laws of visual perception and art, Arne Heim uses the theory of Gestalt psychology, "force", "field", "heterogeneous isomorphism" and so on to explain how visual perception is finished in intuition. The second part mainly studies the imagery in aesthetic intuition. Through the study of the activity mode of visual perception and the mechanism of aesthetic perception, Arne Heim has further established the position of image in aesthetic activities. Arne Heim has drawn a conclusion in the study of visual perception. It is concluded that visual perception and thinking are connected through images, and any thinking activity contains images. From ancient Greece to modern times, "image" was always an important category in the field of aesthetics. Arne Heim combined Gestalt psychology theory to find the insufficiency of relevant theories. Arnheim thought that the democratic school of democracy was from the Democratic Republic of democracy. In the beginning, "image" is always considered to be the counterpart of the object in the mind, which is a complete copy of the object of observation. And Arne Heim, through a study of the organizational ability of visual perception, finds that this is not the case. The image is the result of the abstraction of the perception on the image of the object. It is not faithful and complete to the object. Copying, but the understanding of the essential structure of things, has three functions in thinking, namely, "painting", "symbol" and "mark". These three functions represent the three abstractions of the perceptual image from high to low in the thinking. The step reveals the function and function of image in creative thinking. The third part studies the generating mechanism of "image", which is the "abstract" ability of visual perception. Arne Heim demonstrates the way of creating images through "abstract", and has its profound historical reasons. After the.20 century western beauty studies from Wallinger, many schools elucidated them. On the basis of the aesthetic abstract theory and scientific abstract theory of other schools, Arne Heim puts forward his abstract method. In the visual thinking, he criticizes the idea that other schools oppose "abstract" and "concrete", and that abstract activity can not be "summarized". Through the analysis of the ability of visual perception, he creatively reveals the law of "abstracting" through visual perception in the representation of things, and through this revelation makes a unified understanding of perceptual knowledge and rational knowledge. On this basis, Arnheim believes that any rational activity needs perceptual perceptual activity. Based on this, he criticizes some aesthetic schools and artistic theories that equate "abstraction" with the abuses of being divorced from nature. Arne Heim's aesthetic intuition psychology theory illustrates that intuition and reason are human cognitive activities from the perspective of empirical and logical thinking. The inseparable two components; reveal the way of coordination and cooperation between perception and thinking in cognitive activities; point out that intuition is not irrational and unreliable method of understanding; it corrects the view that perception and thinking have been separated from ancient Greece, and perception is regarded as lower than thinking. Arne Heim is deeply researched by intuition. To a certain extent, the difference between speculative aesthetics and empirical aesthetics has been alleviated, which has made outstanding contributions to the development of modern western aesthetics.

【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：B83-02

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