本文選題：溫克爾曼　切入點(diǎn)：藝術(shù)美學(xué)　出處：《遼寧大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：十八世紀(jì)中葉,隨著歐洲知識分子對古希臘、古羅馬藝術(shù)興趣的急速高漲,新古典主義藝術(shù)興起。它號召文學(xué)創(chuàng)作回歸古代范本,探究如何找尋藝術(shù)的本質(zhì)。這場藝術(shù)運(yùn)動一方面是對十八世紀(jì)前半期,在藝術(shù)領(lǐng)域占據(jù)統(tǒng)治地位,有著華麗、夸張、矯揉造作特點(diǎn)的巴洛克風(fēng)格的公開聲討;同時也是藝術(shù)家們渴望重振希臘、羅馬藝術(shù)的愿望所至。作為德國啟蒙運(yùn)動美學(xué)的代表,在當(dāng)時德國社會的特殊歷史背景之下,溫克爾曼等學(xué)者的主要目的是爭取民族的統(tǒng)一、激發(fā)人民的民族自覺。他們借助古希臘藝術(shù),表達(dá)對理想人性的崇尚與追求,對理想社會的向往與期待。溫克爾曼為當(dāng)時落后、壓抑的德國社會重溫了一個完美的社會,而這個社會最能打動人的地方便是包容個體的自由,可以說這是溫克爾曼理論中人道主義的一面。溫克爾曼特有的新古典主義美學(xué)精神一方面吸收了唯理主義的美學(xué)思想,認(rèn)為藝術(shù)創(chuàng)作的直接泉源在于人本身,因而更強(qiáng)烈地感動人,同時藝術(shù)必須表現(xiàn)得和自然相符合;另一方面他也繼承了英國經(jīng)驗(yàn)主義哲學(xué)美學(xué)思想,認(rèn)為藝術(shù)的主要任務(wù)是追尋某種審美理想,將想象、情感和美感的研究放在首位。同時,他的美學(xué)思想還將唯理主義與經(jīng)驗(yàn)主義相互融合,將人類認(rèn)識中的感覺(感性)與思維(理性)結(jié)合起來進(jìn)行思考,強(qiáng)調(diào)感情與理性的統(tǒng)一,而這二者的相互結(jié)合才造就了古希臘社會中“完美、自由的人”。溫克爾曼作為新古典主義的先驅(qū),他認(rèn)為美是藝術(shù)的最高的最終目的。最高的美是最單純,也是最清淡的,它既不需要對人進(jìn)行哲學(xué)認(rèn)識,也不需要探求心靈的激情及其表現(xiàn)。而縱觀人類歷史,能夠?qū)崿F(xiàn)這種理想美的唯有古希臘時期的藝術(shù),因此他號召藝術(shù)家在創(chuàng)作的時候必須以學(xué)習(xí)古希臘藝術(shù)為榜樣。同時,他開創(chuàng)性的認(rèn)為,藝術(shù)的發(fā)展并非一成不變的,它會隨著時代的變遷而具有不同的風(fēng)格,借此他將希臘藝術(shù)的發(fā)展分為遠(yuǎn)古、崇高、典雅、模仿四種風(fēng)格。溫克爾曼作為18世紀(jì)西方美學(xué)研究、藝術(shù)史研究的開拓者,他的影響極其深遠(yuǎn)。他不僅開創(chuàng)了科學(xué)系統(tǒng)地研究藝術(shù)史的新時代,更深刻地影響了后世的理論家,正如后世的批評家們所指出的那樣,“萊辛的工作是溫克爾曼工作的繼續(xù)”(1);赫爾德“想成為文學(xué)史研究方面的溫克爾曼”(1);而“歌德和席勒無疑都是萊辛和溫克爾曼的直接繼承者”(2)。他的研究不僅在當(dāng)時掀起了一股回歸古希臘的浪潮,更成為德國啟蒙運(yùn)動中不可或缺的一個重要環(huán)節(jié)。
[Abstract]:In the middle of 18th century, with the rapid rise of European intellectuals' interest in ancient Greek and Roman art, neoclassical art rose. It called for literary creation to return to the ancient model. Exploring how to find the essence of art. On the one hand, this art movement is a public denunciation of the Baroque style, which occupies a dominant position in the art field in the first half of 18th century and has the characteristics of ornate, exaggeration and affectation; It was also the desire of artists to revive Greek and Roman art. As a representative of the aesthetics of the German Enlightenment, under the special historical background of German society at that time, Winkelmann and other scholars' main purpose was to strive for national unity. To inspire the national consciousness of the people. With the help of ancient Greek art, they expressed their worship and pursuit of ideal human nature and yearning and expectation for an ideal society. Winkelmann revisited a perfect society for the backward and repressed German society at that time. And the most touching part of this society is the freedom to embrace individuals, which can be said to be the humanitarian side of Winkelmann's theory. On the one hand, Winkman's unique neo-classical aesthetic spirit absorbs rationalist aesthetic ideas. It is believed that the direct source of artistic creation lies in the human being and thus moves people more intensely. At the same time, art must be performed in conformity with nature. On the other hand, he also inherits the philosophy and aesthetics of English empiricism. It is believed that the main task of art is to pursue a certain aesthetic ideal and put the study of imagination, emotion and aesthetic feeling in the first place. At the same time, his aesthetic thought combines rationalism with empiricism. The combination of feeling (sensibility) and thought (reason) in human cognition, emphasizing the unity of emotion and reason, and the combination of these two created "perfection" in ancient Greek society. "Free man". As a pioneer of neoclassicism, Winkelmann believes that beauty is the ultimate aim of art. The highest beauty is the simplest and most light, and it does not require philosophical understanding of human beings. There is no need to explore the passion of the soul and its expression. But throughout human history, it is only the art of ancient Greece that can achieve this ideal beauty, so he calls on artists to follow the example of ancient Greek art when they create. At the same time, His groundbreaking belief that the development of art is not inflexible, it will have different styles with the change of times, by which he divides the development of Greek art into ancient times, sublime and elegant. In 18th century, as a pioneer of western aesthetics and art history, Winkelmann not only initiated a new era of scientific and systematic study of art history, but also deeply influenced the theorists of later generations. As future critics have pointed out, "Lessing's work is a continuation of Winkelmann's work"; Herd "wants to be Winkelmann in the study of literary history"; and "Goethe and Schiller are undoubtedly both Lessing and Winkelmann." His research not only set off a wave of return to ancient Greece at that time, It also became an indispensable and important link in the German Enlightenment.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J01

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