表达、场域与气氛:梅洛-庞蒂的知觉理论与极简主义艺术  

Expression, Field and Atmosphere: Merleau-Ponty’s Perception Theory and Minimalist Art

作　　者：舒志锋[1] SHU Zhi-feng(School of Liberal Arts,Hainan Normal University,Haikou 571158,China)

机构地区：[1]海南师范大学文学院,海南海口571158

出　　处：《美育学刊》2020年第2期74-80,共7页Journal of Aesthetic Education

摘　　要：20世纪60年代的极简主义艺术是一场影响深刻的艺术运动,这种影响不仅体现在促成了公共艺术、大地艺术、施行艺术的兴起,更重要的是使得艺术的阐释范式从“视觉”转向“知觉”。在这一艺术理论的“知觉”转向中,梅洛-庞蒂的知觉现象学开始被艺术理论家所关注,成为当代艺术批评重要的理论资源。总体来说,梅洛-庞蒂的知觉现象学在“表达”“场域”与“气氛”三个方向被应用到极简主义艺术的阐释中,安东尼·卡洛的雕塑、理查德·塞拉的作品《转换》以及建筑现象学是其中的典型代表。Minimalist Art in 1960 s was a widespread art movement with profound impact, which promoted not only the rise of public art, earth art and performing art, but also the shift of art interpretation paradigm from "vision" to "perception". In this "perceptual" turn of art theory, Merleau-Ponty’s perception phenomenology began to attract the attention of art theorists and became an important theoretical resource of contemporary art criticism. Generally speaking, Merleau-Ponty’s perception phenomenology is applied to the interpretation of Minimalist Art in the following three aspects, namely "expression", "field" and "atmosphere", among which Anthony Caro’s sculpture, Richard Serra’s "Switch" and architectural phenomenology are typical representatives.

关 键 词：表达 场域 气氛 极简主义 梅洛-庞蒂 

分 类 号：B835[哲学宗教—美学]