本文選題：柏拉圖 + 貢布里希��； 參考：《上海師范大學(xué)》2014年碩士論文

【摘要】：自古希臘開(kāi)始,“藝術(shù)摹仿自然”的藝術(shù)觀念不但深入人心,而且也是柏拉圖“理念論”的重要組成部分。這種觀念在西方藝術(shù)歷史長(zhǎng)河中不斷遭到各種各樣的肯定、否定以及限定。而到了近代,貢布里希對(duì)于該種觀念進(jìn)行了深入的考察,并針對(duì)性地提出了自己的看法。 本文分四部分：第一部分著重考察“摹仿論”淵源和類型,在希臘哲學(xué)家看來(lái),“摹仿”與“技藝”密切相關(guān)。柏拉圖并不否認(rèn)“摹仿性”技藝的創(chuàng)造性和積極意義。但是他始終認(rèn)為,“摹仿性”藝術(shù)與“理念”兩度離異。柏拉圖以著名的“床論”闡釋了“藝術(shù)”與現(xiàn)實(shí)的關(guān)系。在藝術(shù)領(lǐng)域,他區(qū)分了兩類“摹仿”：“復(fù)制藝術(shù)”和“幻象藝術(shù)”。 “摹仿論”對(duì)于西方藝術(shù)觀念的影響是是巨大的。從亞里士多德到文藝復(fù)興,藝術(shù)家們無(wú)不追尋著柏拉圖的信念。而文藝復(fù)興之后,“幻覺(jué)主義”作為繪畫(huà)藝術(shù)的經(jīng)典理論一直延續(xù)下來(lái)。 第二部分：貢布里希對(duì)于柏拉圖“摹仿”理論的回應(yīng)。貢布里希從兩方面對(duì)于柏拉圖的“摹仿藝術(shù)”做了回應(yīng)：第一、貢布里希認(rèn)為,在“摹仿”和“現(xiàn)實(shí)”中間有一個(gè)模糊的中間地帶,即“替代”,正是因?yàn)橐环N功能性的“替代”使得藝術(shù)成為可能,而“替代”也成為風(fēng)格演化的動(dòng)力。第二、純粹的摹仿本身就是不可能的,所有的“看”都是基于某種心理機(jī)制之上的,都是帶有某種解釋的。 第三部分著重繼續(xù)闡述柏拉圖與貢布里希對(duì)于“看”的不同理解。在貢布里�？磥�(lái),所謂的藝術(shù)“錯(cuò)覺(jué)”并不是人心靈低劣部分的反應(yīng),而是一種可以控制和利用的心理定向。 第四部分討論藝術(shù)的“價(jià)值”,藝術(shù)究竟先有自身價(jià)值還是先具備特殊的功用,而后才發(fā)展出一種獨(dú)立價(jià)值?這是柏拉圖與貢布里希之間的最大分歧,貢布里希在認(rèn)為“藝術(shù)”這個(gè)的詞范疇總是不斷漂移和滑動(dòng)的,因此總是盡量避免討論一種“本質(zhì)主義”的藝術(shù)。事實(shí)上,他甚至不承認(rèn)有一種所謂“大寫(xiě)”的藝術(shù)。
[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.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J0

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