贡布里希对柏拉图模仿说的诠释与批评  

E. H. Gombrich’s interpretation and critique on Plato’s theory of imitation

作　　者：牟春[1] MU Chun(Department of Philosophy,Shanghai Normal University,Shanghai 200234,China)

机构地区：[1]上海师范大学哲学系,上海200234

出　　处：《中南大学学报（社会科学版）》2019年第2期13-20,共8页Journal of Central South University：Social Sciences

基　　金：国家社科基金一般项目"瓦尔堡学派的图像学研究"(17BZX130);上海市浦江人才计划项目"瓦尔堡学派的艺术文化学研究"(17PJC083)

摘　　要：柏拉图的模仿说是西方艺术反思和美学建构的源头之一,对西方再现艺术影响深远。贡布里希从艺术史的角度重新诠释了柏拉图模仿说的立论意图,呈现了模仿说与希腊艺术革新的内在关联,展现了他作为一个艺术史家的敏锐眼光;而他对柏拉图模仿说的批评则向我们揭示了艺术与现实双向生成的关系,体现了他对哲学问题的高度敏感和对艺术本质的深刻洞察。艺术与现实之间的相互辨认和生成不是因为它们彼此模仿,而是由于观者在图像与现实之间不断交互解读并最终产生了等效认同。正因如此,艺术才有可能提供新的角度让我们对世界进行重新分节,我们才能通过艺术获得视觉的新发现。Plato's theory of imitation is one of the origins of western artistic reflection and aesthetic construction, exerting a far-reaching influence on western representation art. Gombrich reinterpreted the intention of Plato's theory of imitation in the light of art history which presented the inner relationships between imitation theory and Greek art innovation, which demonstrates his historical perspective as an expert in the history of art. He also criticized Plato's imitation, which discloses the bidirectional generation relationship between art and reality and reflects his high sensitivity to philosophical issues and his profound insight into the nature of art. The mutual recognition and generation between art and reality is not because they imitate each other, but because the viewer opens the constantly interactive interpretations between image and reality, and eventually reaches at the equivalent identity. It is only because of this that it is possible for art to provide a new perspective for us to re-divide the world so that we can obtain new visual discoveries through art.

关 键 词：贡布里希 柏拉图 模仿说 等效认同 

分 类 号：J05[艺术—艺术理论]