本文選題：造型藝術(shù) + 造型藝術(shù)高峰�。� 參考：《湖南師范大學(xué)》2009年博士論文

【摘要】： 西方造型藝術(shù)高峰的存在是西方藝術(shù)史中的一個客觀事實,而將哲學(xué)的觀念與方法引入西方造型藝術(shù)史的研究中,探究其造型藝術(shù)高峰產(chǎn)生的本質(zhì)規(guī)律,是西方精神文化發(fā)展史研究的一個新的領(lǐng)域。這一研究特點表現(xiàn)為:首先,以大量的西方造型藝術(shù)高峰時期的資料和藝術(shù)史哲學(xué)的研究方法為依據(jù),明確了西方造型藝術(shù)高峰的界定標(biāo)準(zhǔn),及其以造型藝術(shù)高峰為標(biāo)志的造型藝術(shù)史的分期方法,并論證了“高峰突顯”是西方造型藝術(shù)史的一個清晰明白的特征。其次,在論證造型藝術(shù)五大高峰的生成及發(fā)展規(guī)律的問題時,以“社會環(huán)境因素”、“社會觀念動力”、“美學(xué)規(guī)律特征”、“哲學(xué)邏輯闡釋”這四個層面展開,并層層遞進,最終歸結(jié)為“神本”與“人本”、“神性”與“人性”的關(guān)系問題。這一結(jié)論顯然與西方哲學(xué)的發(fā)展邏輯是相一致的。它表明:西方造型藝術(shù)的五大高峰的生成與發(fā)展,從社會機制的角度上來看,與同時期的社會環(huán)境和社會觀念之間有著密切的關(guān)系,是社會機制引發(fā)和催生的結(jié)果;從美學(xué)規(guī)律上來看,在以理性主義為基石的西方哲學(xué)和美學(xué)的影響下,造型藝術(shù)的觀念層面中形成了“唯理的”與“唯美的”兩大流派,而造型藝術(shù)高峰的產(chǎn)生,事實上是這兩大美學(xué)流派在造型藝術(shù)中所追求的“理性之美”或“感性之美”的極致性或顛覆性的結(jié)果;從哲學(xué)本質(zhì)上看,造型藝術(shù)高峰作為人類思維觀念的產(chǎn)物,本身就是人類精神文化史的重要構(gòu)成部分,它以人本為核心,并貫穿于宗教意志和科學(xué)精神,它體現(xiàn)了“神性”與“人性”相互角逐且“此消彼長”的互動發(fā)展過程。因此,西方造型藝術(shù)高峰的生成和發(fā)展的內(nèi)在規(guī)律表現(xiàn)為:“神性”的迷狂與消解,以及“人性”的覺醒與創(chuàng)造這樣一個人的精神發(fā)展歷程。在人類發(fā)展的不同時期,某種精神由于契合人類發(fā)展的需要或得到當(dāng)時地域的、民族的以及時代的文化青睞,而成為了造型藝術(shù)高峰產(chǎn)生的首要原動力和“推動者”——從這一意義來看,兩者中的任何一種精神在某一特定時期都有可能將造型藝術(shù)的發(fā)展推到極致。需要特別指出的是,在西方造型藝術(shù)史中,藝術(shù)高峰不斷出現(xiàn)雖然是一種“循環(huán)”發(fā)生的現(xiàn)象,但也應(yīng)被看成是一種不斷“進步”的現(xiàn)象,這種進步體現(xiàn)為一個“人性”的意識不斷覺醒和生發(fā)創(chuàng)造的精神歷程。
[Abstract]:The existence of the peak of Western plastic art is an objective fact in the history of western art. It is a new field in the history of western spiritual and cultural development. The characteristics of this study are as follows: firstly, based on a large number of materials from the peak period of Western plastic arts and the research methods of philosophy of art history, the definition standard of the peak of Western plastic arts is defined. And the classification method of styling art history marked by the peak of plastic arts, and demonstrated that "peak prominence" is a clear and clear feature of the history of western plastic arts. Secondly, in the discussion of the formation and development law of the five peaks of plastic arts, the four levels of "social environment factor", "social concept motive force", "aesthetic law characteristics" and "philosophical logic interpretation" are developed, and they are developed step by step. Finally, it comes down to the relationship between God and humanity and between divinity and humanity. This conclusion is obviously consistent with the development logic of western philosophy. It shows that the formation and development of the five peaks of Western plastic arts are closely related to the social environment and social concept of the same period from the perspective of social mechanism, which is the result of the initiation and birth of social mechanism; From the point of view of aesthetic law, under the influence of western philosophy and aesthetics based on rationalism, two major schools of "rationalism" and "aestheticism" were formed in the conceptual level of plastic arts, and the peak of plastic arts came into being. In fact, it is the ultimate or subversive result of the "beauty of reason" or "beauty of sensibility" pursued by these two aesthetic schools in plastic arts. Itself is an important part of the history of human spirit and culture. It takes humanism as the core and runs through the religious will and scientific spirit. It embodies the interactive development process of "divinity" and "human nature" competing with each other and "rising and falling from one another" to the other. Therefore, the inherent law of the emergence and development of the peak of Western plastic arts is shown as follows: the "divinity" is lost and dispelled, as well as the awakening of "human nature" and the spiritual development of such a person. At different times of human development, a certain spirit was favored by the local, ethnic and contemporary cultures of the time, because it was in keeping with the needs of human development or by the culture of the time. In this sense, any of the two spirits may push the development of plastic arts to the extreme in a certain period. In particular, it should be pointed out that in the history of Western modelling art, although the continuous emergence of artistic peaks is a "circular" phenomenon, it should also be regarded as a "progressive" phenomenon. This progress is reflected in the spiritual process of a consciousness of human nature which is constantly awakened and created.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J06

【引證文獻】

相關(guān)博士學(xué)位論文 前2條

1 陳寧;德意志造型美學(xué)中的古典意識問題研究[D];黑龍江大學(xué);2011年

2 魏建明;云南甲馬造型的結(jié)構(gòu)研究[D];中國藝術(shù)研究院;2014年

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本文編號：1923376