【摘要】：中國學術界對德語國家重要藝術史家和藝術史研究的了解往往來自于英美兩地的德裔學者,他們的思想和研究不僅構筑了戰(zhàn)后英語世界藝術史研究的基礎,同時也在某種程度上影響了中國學者。諸如帕諾夫斯基、貢布里希等學者的思想一度成為中國學界的顯學。近些年來,伴隨英美國家對德國藝術史學思想的挖掘,多部德語著作又得以以英文版面世,使得一批重要思想家又被重新提起,李格爾便在此行列。伴隨新研究的展開,李格爾的學術語境與研究主旨也逐漸明晰。阿洛伊斯·李格爾作為維也納藝術史學派的代表以及“藝術科學”的積極建構者成為藝術史研究領域無法繞行的重要學者,后來的研究者大都對李格爾及其理論展開論述。對于當代西方與中國藝術理論與藝術史研究來說,李格爾關于藝術本質的思考、關于藝術理論體系的構建以及具體藝術史研究方法都具有不可忽視的價值,包括“藝術意志”、“藝術價值與歷史價值”、“觀者與觀看”等等術語對于構建當代藝術理論體系與藝術史研究具有重要的標識作用。因此,基于李格爾的研究現(xiàn)狀以及當代藝術理論所面臨的諸多問題,向中國藝術研究領域介紹有關李格爾的最新研究成果以及西方對李格爾理論遺產的重新評估就顯得尤為必要了。因為李格爾有關藝術史研究的諸多討論不僅僅帶來了必要的知識,而且也為不同時代理解藝術的本質以及藝術作品闡釋的具體方法提供了參照。所以,重新進入李格爾的理論體系,重新思考觸覺的與視覺的、近距離觀看與遠距離觀看、觀者與藝術作品、藝術價值與歷史價值、藝術意志等等術語之間的關聯(lián)性,對于力圖建構具有獨特屬性的中國藝術史與藝術理論研究而言是極為必要的。作為十九世紀末德語國家最為重要的藝術史、藝術理論家,李格爾龐大的理論體系和深邃的哲學思考已經(jīng)重新得到西方學者的重視,而力圖構建自身獨特屬性的中國學術語境也需要關注李格爾的思想。本文著重于李格爾構建的觀者身份以及藝術作品與觀看所構成的關聯(lián)語境,并認為觀者與觀看是李格爾整個理論體系的基石,包括觸覺的和視覺的、形式、風格等等術語都是構建在觀者基礎之上的�？梢哉f,只有我們充分理解觀者是如何被李格爾構建出來的,觀者出現(xiàn)在藝術作品的分析當中具有何種意義,觀者如何激活藝術形式等等問題,才能真正觸碰到李格爾所謂的“藝術意志”。因此,本文以藝術意志作為設問而觀者與觀看的視覺場作為解題思路,對李格爾思想中的主旨問題展開研究。
[Abstract]:The understanding of important art historians and art history studies in German-speaking countries in Chinese academic circles often comes from German scholars in Britain and the United States. Their ideas and studies not only build the basis for the study of art history in the post-war English world, but also influence Chinese scholars to some extent. The ideas of scholars such as Panofsky and Gombrich once became prominent in Chinese academic circles. In recent years, with the excavation of German art historiography in Britain and the United States, many German works have been published in English, and a number of important thinkers have been mentioned again, and Ligger has been among them. With the development of new research, Ligger's academic context and research purport are gradually clear. Aloys Ligger, as the representative of Vienna School of Art History and the active builder of "Art Science", has become an important scholar who can not bypass the field of art history research. later, most of the researchers discussed Li GE and his theory. For the study of contemporary western and Chinese art theory and art history, Li GE's thinking on the essence of art, the construction of art theory system and the research methods of specific art history have important value, including "artistic will", "artistic value and historical value", "viewer and watch" and so on, which play an important role in the construction of contemporary art theory system and art history research. Therefore, based on the present situation of Ligger's research and many problems faced by contemporary art theory, it is particularly necessary to introduce the latest research results of Ligger to the field of Chinese art research and the reevaluation of Legend's theoretical heritage in the West. Because Ligger's many discussions on the study of art history not only bring the necessary knowledge, but also provide a reference for different times to understand the nature of art and the specific methods of interpretation of artistic works. Therefore, it is very necessary to re-enter the theoretical system of Li GE, to rethink the relationship between tactile and visual, close viewing and long distance viewing, viewer and artistic work, artistic value and historical value, artistic will and so on, which is very necessary to construct the research of Chinese art history and art theory with unique attributes. As the most important art history of German-speaking countries at the end of the 19th century, Li Gale's huge theoretical system and profound philosophical thinking have been paid more attention to by western scholars, and the Chinese academic context, which tries to construct its own unique attributes, also needs to pay attention to Ligger's thought. This paper focuses on the identity of the viewer and the relevance context between the works of art and viewing, and holds that the viewer and the viewing are the cornerstone of the whole theoretical system of Ligger, including tactile and visual, form, style and other terms are built on the basis of the viewer. It can be said that only when we fully understand how the viewer is constructed by Legel, what the significance of the viewer appears in the analysis of artistic works, how to activate the artistic form, and so on, can we really touch Ligger's so-called "artistic will". Therefore, this paper takes the artistic will as the question and the visual field of viewing as the way of thinking to solve the problem, and studies the purport of Ligger's thought.
【學位授予單位】：南京大學
【學位級別】：博士
【學位授予年份】：2016
【分類號】：J110.9
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本文編號：2499832