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20世纪初,弗莱为后印象派的辩护是沿着两个路向展开的。一方面,他盛赞后印象派画家冲破了再现主义的迷障,把目光从对象转向人的情绪和人对对象的感觉,认为这个转向帮助我们找回了失落已久的艺术的灵魂。另一方面,他又努力发掘后印象派大师尤其是塞尚绘画中的古典精神,试图建立起后印象派绘画与传统的联系。这或许有策略上的考虑,然而也确实反映了弗莱内心对艺术的理解:他站在传统与现代的交汇点上思考着艺术的本质。分析弗莱为后印象派辩护的两条线索,我们不仅可以了解到他和康德美学的内在联系,也可以对其形式主义艺术批评的真正精神获得深切而丰富的领会。
In the early 20th century, Frye’s post-Impressionist defense proceeded in two directions. On the one hand, he praised post-impressionist painters for breaking through the fan of reproductionism, shifting their gaze from the object to the human emotion and the feeling of the person to the object, and regarded this shift as helping us to retrieve the lost soul of the art. On the other hand, he tries to find out the classical spirit of post-impressionist masters, especially Cezanne painting, trying to establish the connection between post-impressionist painting and tradition. This may have strategic considerations, but it does reflect Frye’s own understanding of art: he is thinking of the essence of art at the intersection of tradition and modernity. By analyzing the two clues Frye defended the post-Impressionism, we can not only understand his internal connection with Kant’s aesthetics, but also gain a deep and rich understanding of the real spirit of formalistic artistic criticism.