本文選題：貢布里希 + 圖像價(jià)值�。� 參考：《湘潭大學(xué)》2017年碩士論文

【摘要】：在西方,E.H.貢布里希爵士(Sir Ernst Gombrich)被譽(yù)為百科全書般的古典學(xué)者。他不僅在藝術(shù)史與藝術(shù)哲學(xué)、藝術(shù)心理等方面的研究領(lǐng)域頗具地位,而且還在圖像學(xué)領(lǐng)域中也有自己獨(dú)特的見解。由于數(shù)碼圖像技術(shù)的高速發(fā)展和進(jìn)步,令圖像藝術(shù)與現(xiàn)代圖像學(xué)在當(dāng)代的境遇異常勃興。貢布里希正是看到了圖文關(guān)系對當(dāng)藝術(shù)史、藝術(shù)哲學(xué)、美學(xué)等學(xué)科都出現(xiàn)諸多的新問題,發(fā)現(xiàn)圖像轉(zhuǎn)向引發(fā)的藝術(shù)身份轉(zhuǎn)變。貢布里希的圖像理論都是圍繞著藝術(shù)理論展開的,強(qiáng)調(diào)觀者與藝術(shù)家的“共創(chuàng)”,根據(jù)觀者的視野習(xí)慣分析二維與三維圖像之間的審美體驗(yàn),并用玩具貓與一幅貓的畫充分說明了模仿物與替代品所喚起的強(qiáng)烈反應(yīng)。貢布里希認(rèn)為圖像學(xué)的中心任務(wù)就是尋找作品的本義,并分析圖像闡釋的多義性,提出“觀者的本分”。藝術(shù)家依照圖式理論以此對方案進(jìn)行重建,貢布里希的“方案的重建”與帕諾夫斯基的“歷史的重構(gòu)”,都是圖像學(xué)中重要的兩種理論,在對作品本義的追求上是一致的。觀者的對作品的不同理解其實(shí)也是對作品的再創(chuàng)作,貢布里希稱這種過程為心智的“投射”。“情境邏輯”理論就是圍繞著藝術(shù)家與觀者對作品本義的追尋,同時(shí)強(qiáng)調(diào)觀者對隱喻的理解離不開文字背后的情境邏輯。當(dāng)照相術(shù)的出現(xiàn),貢布里希與其他藝術(shù)評論家、文學(xué)評論家一致認(rèn)為:照相機(jī)將導(dǎo)致大批量圖像的出現(xiàn),從而引發(fā)藝術(shù)的衰落。大量視覺符號不斷的包圍著人們?nèi)粘Ｉ?電子化的傳播媒介加速了圖像傳播的主導(dǎo)地位。其中,發(fā)現(xiàn)貢布里希對視覺作品中技藝強(qiáng)烈追求,并對柏拉圖模仿說進(jìn)行回應(yīng),強(qiáng)調(diào)圖像作品中的技法運(yùn)用,包括對光的運(yùn)用、透視法的運(yùn)用、構(gòu)圖和經(jīng)驗(yàn)等。在他看來,藝術(shù)的進(jìn)步建立在繪畫技術(shù)的基礎(chǔ)上,并在藝術(shù)身份轉(zhuǎn)變上,對“純真之眼”做過批判,不論什么主題的圖像,創(chuàng)作作品都有一個(gè)主要區(qū)域,不能為了藝術(shù)而藝術(shù)。貢布里希強(qiáng)調(diào)描繪真實(shí)世界的藝術(shù)家要遠(yuǎn)比臨摹圖像的藝術(shù)家有很大的本質(zhì)上的差異,雖然從觀者的角度來看都是一點(diǎn)點(diǎn)的去匹配真實(shí)世界,但是從圖式心理角度去分析藝術(shù)品就必須具備獨(dú)特的創(chuàng)造性的因素,音像時(shí)代和控制技術(shù)以及電子復(fù)制時(shí)代圖像已經(jīng)到來,而不是依靠看似相似的視覺體驗(yàn)就能使之看起來像一件藝術(shù)作品。
[Abstract]:E. H. Sir Ernst Gombrich is known as an encyclopedic classical scholar. He not only has a great position in the field of art history, art philosophy, art psychology and so on, but also has his own unique views in the field of graphics. With the rapid development and progress of digital image technology, image art and modern image science are flourishing in contemporary times. Gombrich saw that the relationship between picture and text had many new problems in art history, art philosophy, aesthetics and so on, and found that the transformation of artistic identity caused by image turning. Gombrich's image theory revolves around art theory, emphasizing the "create together" between the viewer and the artist, and analyzing the aesthetic experience between two-dimensional and three-dimensional images according to the viewer's visual habits. A picture of a toy cat and a cat illustrates the strong reaction evoked by the mimics and substitutes. Gombrich believes that the central task of imageology is to find the meaning of the works, analyze the polysemy of the interpretation of images, and put forward the "part of the viewer". The artist reconstructs the scheme according to the schema theory. Gombrich's "reconstruction of the scheme" and Panofsky's "the reconstruction of history" are two important theories in image science, which are consistent in the pursuit of the original meaning of the works. The viewer's different understanding of the work is also a re-creation of the work, which Gonbridge calls the "projection" of the mind. The theory of "situational logic" revolves around the pursuit of the meaning of the works by the artist and the viewer, and emphasizes that the understanding of metaphor by the viewer cannot be separated from the contextual logic behind the words. When photography appeared, Gombrich and other art critics and literary critics agreed that cameras would lead to the emergence of a large number of images, thus triggering the decline of art. A large number of visual symbols constantly surround people's daily life, and the electronic media accelerates the leading position of image communication. Among them, it is found that Gombrich strongly pursues the art of visual works, and responds to Plato's imitation theory, emphasizing the use of techniques in image works, including the use of light, perspective, composition and experience. In his opinion, the progress of art is based on painting technology, and on the transformation of artistic identity, the "eyes of innocence" has been criticized. No matter what the theme of the image, the creation of works have a major area, can not be art for the sake of art. Gombrich stressed that the artists who depict the real world are far more fundamentally different than those who copy the images, although from the viewer's point of view they are just a bit of a match for the real world. But to analyze works of art from the perspective of schematic psychology, we must have unique creative factors. The age of audio and video, the technology of control, and the image of the era of electronic reproduction have arrived. Rather than relying on seemingly similar visual experiences to make it look like a work of art.
【學(xué)位授予單位】：湘潭大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J0

【參考文獻(xiàn)】

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