本文選題：權(quán)力意志 + 賦形�。� 參考：《西安美術(shù)學(xué)院》2017年碩士論文

【摘要】：“權(quán)力意志”這一哲學(xué)概念是在尼采較晚時期提出來的,他把追求力量的強大、追求優(yōu)勢當(dāng)做生命意志的本質(zhì)特征,并對之予以肯定。權(quán)力意志的“力”并非單單指物理學(xué)中的力,而是世界內(nèi)在的一種基本驅(qū)力或創(chuàng)造力,是自發(fā)式的和循環(huán)式的。在尼采的論述中,世界是一個逐漸生成、不斷推陳出新的世界,而權(quán)力意志可以被用來當(dāng)做一切關(guān)于生長、擴張、獨立行為的闡釋者,如動植物微生物的生長、人的身體機能循環(huán)、人類的文化現(xiàn)象等等。藝術(shù)作為人類的文化現(xiàn)象之一也不可避免地體現(xiàn)著權(quán)力意志的運行規(guī)律,權(quán)力意志之求差異、求變化、求強大的根本特性以永不停歇之勢存在于藝術(shù)中。本文圍繞四個主要部分來闡述:第一部分,從自然生物、人群、文化的層面對其含義做了嘗試性的針對解釋,并提出與藝術(shù)的關(guān)系;第二部分,從藝術(shù)史(西方20世紀(jì)藝術(shù)史)、藝術(shù)家(畢加索、杜尚、貝克曼)、藝術(shù)作品(呂佩爾茨作品)三個角度來闡述權(quán)力意志體現(xiàn)在藝術(shù)中的外化形態(tài)。20世紀(jì)藝術(shù)史作為外化形態(tài)之一,其發(fā)展過程又從三個階段體現(xiàn)了權(quán)力意志自身的變化過程,如世紀(jì)初的原始主義回歸(循環(huán)過程),藝術(shù)風(fēng)格的多元化(分解過程),藝術(shù)形式皆趨于抽象、藝術(shù)表現(xiàn)內(nèi)容皆趨于日常、藝術(shù)門類皆淡化界限等(凝結(jié)過程);第三部分,由第二部分的闡述可得出權(quán)力意志顯現(xiàn)的基本特性對藝術(shù)創(chuàng)作所具備的方法論價值,如:求差異性是促使藝術(shù)自身實現(xiàn)多元與豐富的巨大驅(qū)動力;循環(huán)性與統(tǒng)一性要求藝術(shù)在創(chuàng)造過程中,仍需不斷從過去找尋線索,并呈現(xiàn)出自己的清晰脈絡(luò);而權(quán)力意志本質(zhì)上所追求的“強權(quán)感”即“力度”,在某一層面上則成為了藝術(shù)又一獨特的判斷標(biāo)準(zhǔn)。第四部分,藉于中國85至90年代的藝術(shù)發(fā)展在一定程度上是直接借鑒于西方20世紀(jì)現(xiàn)代主義,因此,與之有著看似極為相像而本質(zhì)上卻大不相同的特點,最為明顯的不同便是中國這一階段藝術(shù)存在著“內(nèi)在邏輯性”和“脈絡(luò)性”的缺乏。因此,結(jié)合第三章權(quán)力意志對于藝術(shù)創(chuàng)作的運用價值,其體現(xiàn)在西方20世紀(jì)藝術(shù)史中的“回歸性”、“循環(huán)性”等或許同樣適用于中國藝術(shù)的現(xiàn)狀,也就是說,“從過去的文化中找尋線索和脈絡(luò)”,并且在當(dāng)代藝術(shù)的語境下,讓已成為歷史的傳統(tǒng)重新衍生出新的意義。
[Abstract]:The concept of "power will" was put forward in the late period of Nietzsche. He regarded the strength of power as the essential feature of the will of life and affirmed it. The "force" of the will of power is not only the force in physics, but also a basic drive or creativity within the world. Circular. In Nietzsche's argument, the world is a gradually generated, constantly emerging world, and the will of power can be used as an interpreter of all growth, expansion, and independent behavior, such as the growth of animals and plants, the circulation of human body function, the cultural phenomenon of human beings, etc.. Art is the cultural phenomenon of human beings. One also inevitably embodies the running law of the will of power, the difference in the power will, the change, and the fundamental characteristic of the power to exist in the art. This article focuses on four main parts: the first part, a tentative explanation of its meaning from the aspects of natural biology, crowd and culture. The relationship between art and art; the second part, from the art history (Western art history of twentieth Century), the artist (Picasso, Duchamp, Backman), the works of Art (Lui Pelz's works), to explain the externalization of the power will embodied in the art, one of the.20 century art history as an externalized form, and the process of its development embodies the right from the three stages. The process of the change of willpower itself, such as the return of primidial doctrine (cycle process) at the beginning of the century, the pluralism of artistic style (the process of decomposition), the artistic forms tend to be abstract, the artistic expression tends to be daily, the art categories are all desalination of the boundary and so on (the process of condensation); the third part, from the second part, can draw the basic of the manifestation of the power of power. Characteristics of the artistic creation of the methodological value, such as: seeking difference is to promote the art itself to achieve a multidimensional and rich driving force; the cycle and unity require art in the process of creation, still need to find clues from the past, and show their own clear veins; and the essence of power will be the pursuit of the "strong sense of power". "Strength", at some level, becomes a unique standard of judgment. In the fourth part, the artistic development of China from 85 to 90s is, to a certain extent, directly borrowed from the western modernism of the West in the West. Therefore, it has a seemingly very similar and essentially different characteristics, which is the most obvious difference. There is a lack of "internal logic" and "choroid" in this stage of China's art. Therefore, combining the value of the third chapters of the will of power to artistic creation, it is reflected in the "regressive" in the western art history of the twentieth Century, and the "recycling" may also be applicable to the state of Chinese art, that is, "from the past. In the context of contemporary art, it has made new historical significance.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J110.9

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