【摘要】：卡爾·榮格(Carl Gustav Jung,1875-1961),著名的瑞士分析心理學(xué)家,其心理學(xué)理論建立在社會(huì)和生物學(xué)的理論基礎(chǔ)之上。研究范圍涉及到宗教、神秘學(xué)、煉金術(shù)、藝術(shù)等方面。榮格認(rèn)為想要真正了解無(wú)意識(shí)的內(nèi)容則需要排除那些在他看來(lái)與夢(mèng)本身沒(méi)有關(guān)聯(lián)性的觀念和聯(lián)想。在此基礎(chǔ)上,榮格進(jìn)一步地對(duì)無(wú)意識(shí)進(jìn)行了劃分,他認(rèn)為人的精神世界有三個(gè)層次:意識(shí),個(gè)人無(wú)意識(shí)和集體無(wú)意識(shí)。其中,“集體無(wú)意識(shí)”是榮格所有藝術(shù)觀點(diǎn)的基礎(chǔ),在榮格看來(lái)“集體無(wú)意識(shí)”是一種依賴遺傳和進(jìn)化的,并且不依據(jù)個(gè)人的經(jīng)驗(yàn)而獨(dú)立存在的心理要素。集體無(wú)意識(shí)的中心原型則是“自性”——代表著秩序、統(tǒng)一和圓滿,也是人類(lèi)達(dá)到生活的自我實(shí)現(xiàn)的基礎(chǔ)。在榮格看來(lái),藝術(shù)創(chuàng)作過(guò)程以及藝術(shù)作品,都是完完全全在集體無(wú)意識(shí)的支配下所形成的,藝術(shù)家在創(chuàng)作的過(guò)程中是作為集體無(wú)意識(shí)的載體而存在的,其展現(xiàn)的是人類(lèi)的原型精神,這是生命活力以及藝術(shù)創(chuàng)作的動(dòng)力之源。同時(shí)榮格將藝術(shù)材料劃分為感覺(jué)式和幻覺(jué)式這兩種類(lèi)型。這兩種類(lèi)型類(lèi)似于藝術(shù)中的現(xiàn)實(shí)主義和抽象派。榮格將古代人和現(xiàn)代人的靈魂進(jìn)行了對(duì)比,進(jìn)而說(shuō)明在文明的社會(huì)中,集體無(wú)意識(shí)的特殊意義:實(shí)現(xiàn)古代精神向現(xiàn)代精神的延續(xù)。而在藝術(shù)創(chuàng)作的過(guò)程中,藝術(shù)家是作為一個(gè)中介去表現(xiàn)古代的原型意象,我們也可以在寫(xiě)實(shí)的藝術(shù)風(fēng)格之外,看到大量的體現(xiàn)原始精神的藝術(shù)作品。更為重要的是,集體無(wú)意識(shí)在現(xiàn)代人的精神世界中可以成為一種自我實(shí)現(xiàn)、自我圓滿的一個(gè)出口。而且,隨著時(shí)代的變化,“集體無(wú)意識(shí)”與藝術(shù)創(chuàng)作之間的關(guān)系也發(fā)生了變化。如果說(shuō)“集體無(wú)意識(shí)”在早期更多地是提供了一種關(guān)于“無(wú)序的藝術(shù)表達(dá)”和“原始意象”的解釋。那么,在二戰(zhàn)之后的美國(guó),“集體無(wú)意識(shí)”催化的是藝術(shù)創(chuàng)作中神話的主題以及對(duì)于普遍性的追求。從混亂的無(wú)意識(shí)的表達(dá)到尋求普遍性的藝術(shù)創(chuàng)作,我們似乎看到了兩種截然不同的藝術(shù)方式。但是這背后代表的是一種共同的追求:通過(guò)返古,來(lái)追求人與自然之間,人與人之間的情感紐帶和人類(lèi)的精神世界。然而榮格并不認(rèn)為藝術(shù)家應(yīng)當(dāng)作為一個(gè)個(gè)性化的個(gè)體,而在某種程度上是作為一個(gè)無(wú)意識(shí)的載體來(lái)進(jìn)行藝術(shù)創(chuàng)作活動(dòng),否定了藝術(shù)家的創(chuàng)造能力。同時(shí),隨著精神分析學(xué)和社會(huì)之間的關(guān)系的發(fā)展,這種將來(lái)訪者判定為病人的說(shuō)法以及分析與被分析的關(guān)系也受到了懷疑。在這種情況之下我們還有沒(méi)有采取這種所謂的通過(guò)一個(gè)學(xué)科去對(duì)另一個(gè)領(lǐng)域進(jìn)行闡釋的必要?是否其最終的結(jié)果是僅僅能夠去豐富其中一個(gè)門(mén)類(lèi)的理論框架?或者說(shuō)有沒(méi)有一種可能性是通過(guò)藝術(shù)的方式去觸及生命體本身?對(duì)此我們可以重新梳理榮格的“集體無(wú)意識(shí)”理論與藝術(shù)創(chuàng)作之間的關(guān)系脈絡(luò)。由此得出在新的時(shí)代背景下,“集體無(wú)意識(shí)”與藝術(shù)領(lǐng)域的新的聯(lián)系與意義。本文一共有六章,其中第一章是緒論,主要介紹相關(guān)的研究背景和文章的重難點(diǎn);第二章主要內(nèi)容是介紹榮格的理論思想與藝術(shù)觀點(diǎn);第三章的內(nèi)容是論述集體無(wú)意識(shí)與藝術(shù)創(chuàng)作的關(guān)系,內(nèi)容側(cè)重于早期現(xiàn)代主義藝術(shù);第四章探討的是集體無(wú)意識(shí)與藝術(shù)創(chuàng)作關(guān)系的新變化,著重討論二戰(zhàn)后美國(guó)的藝術(shù)家藝術(shù)創(chuàng)作;第四章的內(nèi)容是關(guān)于榮格的美學(xué)觀點(diǎn)的反思以及新的可能性,結(jié)合中國(guó)當(dāng)代藝術(shù)家案例進(jìn)行討論。
[Abstract]:Carl Jung (Carl Gustav Jung,1875-1961), a well-known Swiss analysis psychologist, is based on social and biological theory. The scope of the study is related to the aspects of religion, mystique, alchemy, art and so on. Mr. Jung thought that it would be necessary to exclude the idea and association that had no relevance to the dream itself when he wanted to be truly aware of the unconscious. On this basis, Jung further divided the unconscious, and he thought that the human spiritual world had three levels: consciousness, individual unconsciousness and collective unconsciousness. Among them, the "collective unconsciousness" is the foundation of all the artistic views of Rongge, and in Jung's view, the "collective unconsciousness" is a kind of psychological factor which is independent of the heredity and the evolution, and does not exist independently according to the experience of the individual. The central archetype of the collective unconsciousness is the foundation of the "self-performance" _ representative of order, unity and perfection, and the self-actualization of human being. In Jung's view, the process of artistic creation and the art of art are all formed under the control of collective unconsciousness, and the artist is present as a carrier of collective unconsciousness in the process of creation, which shows the prototype spirit of the human being. This is the power of life and the power of artistic creation. At the same time, Jung divides the artistic material into two types of sense and illusion. These two types are similar to realism and abstract in the art. In contrast to the spirit of ancient and modern people, Jung explained the special significance of collective unconsciousness in the society of civilization: to realize the continuation of the ancient spirit to the modern spirit. In the process of artistic creation, the artist is an intermediary to express the archetypal image of the ancient, and we can also see a great deal of art of art that embodies the original spirit in addition to the realistic artistic style. More importantly, collective unconsciousness can be a self-fulfilling, self-successful export in the spiritual world of modern people. Moreover, with the change of the times, the relationship between the "collective unconsciousness" and the artistic creation has also changed. If the "collective unconsciousness" has provided an explanation of the "out-of-order artistic expression" and the "original image" in the early stage, Then, in the United States after World War II, the "collective unconsciousness" is the theme of the myth in the creation of art and the pursuit of universality. From the unconsciousness of chaos to the pursuit of universal artistic creation, we seem to have seen two distinct ways of art. But there is a common pursuit: by returning to the ancient times, to pursue the emotional bonds between man and nature, between man and man, and the spiritual world of man. However, Jung did not think that the artist should act as a personalised individual and, to some extent, as an unconscious carrier for artistic creation, denied the artist's creative ability. At the same time, with the development of the relationship between the psychoanalysis and the society, it is also suspected that the visitor's assertion as a patient and the relationship between the analysis and the analysis are also suspected. In this case, there is no need for this so-called passage of a subject to the interpretation of another area? Whether or not the final result is to be able to enrich the theoretical framework of one of the categories? Or is there a possibility that the living body itself can be touched by means of art? In this regard, we can re-sort the relationship between the "collective unconsciousness" theory and the artistic creation. Therefore, it is concluded that in the new era, the new relation and meaning in the field of "collective unconsciousness" and art. In this paper, there are six chapters, in which the first chapter is the introduction, the main introduction of the relevant research background and the difficulty of the article; the second chapter is the introduction of the theory and the artistic point of the Jung; the content of the third chapter is to discuss the relationship between the collective unconsciousness and the artistic creation. The content is focused on the early modernism art; the fourth chapter discusses the new change of the relationship between the collective unconsciousness and the artistic creation, and focuses on the artistic creation of the American artists after the Second World War; and the content of the fourth chapter is the reflection on the aesthetic point of the Jung and the new possibilities. Discuss the case of contemporary Chinese artists.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J04

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