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苏珊朗格作为符号论美学的代表,对艺术问题有着深入的研究和精辟的见解,她的《哲学新解》、《感受与形式》和《艺术问题》共同构成了其符号论美学的基础。而在《感受与形式》一书中,她清晰地给出了艺术的定义,并且对艺术的各个门类都做了深入的分析以证明自己的论点。然而尽管她的结论是建立在扎实的资料的基础之上,又参考了艺术家对于艺术创作的相关解释,理论本身的缺陷依旧没能避免,那就是它并不能概括任何时期、任何历史背景下的艺术的定义,因为艺术与政治、宗教都有着密不可分的关系。在早期艺术中,它受制于它们,并为其服务。本文就是从苏珊朗格对艺术的定义入手,举出印象派绘画作品、古埃及墓室壁画以及中世纪浮雕为例,进行深入的分析,揭示符号学美学理论的这样一种局限。
As the representative of symbolic aesthetics, Susanne Lange has deep research and incisive views on the art issues, and her “new understandings of philosophy”, “feelings and forms” and “artistic problems” together constitute the basis of her semiotics . In “Feelings and Forms,” she gives a clear definition of art, and in-depth analyzes of various categories of art prove his argument. However, although her conclusion is based on sound data and refers to the artist’s explanation of the artistic creation, the defect of the theory itself can not be avoided. That is, it does not summarize any period, any historical background The definition of art, because art and politics, religion are inextricably linked. In early art, it controlled and served them. This article begins with the definition of art by Susan Lange, citing the works of Impressionism, the tomb murals of ancient Egypt and the reliefs of the Middle Ages for an in-depth analysis to reveal such a limitation of semiotic theory of aesthetics.