艺术哥白尼革命:17世纪欧洲风景画的去人性化研究  

A Copernican Revolution in Art:A Study of Dehumanization in European Landscape Painting in the 17th Century

作　　者：廖紫俨 Liao Ziyan

机构地区：[1]厦门大学人文学院

出　　处：《美术》2021年第5期122-128,共7页Art Magazine

摘　　要：欧洲风景画从"有风景的绘画"过渡具有独立审美位格的风景画的过程,本质上是一次对于艺术本体论回归的过程,其背后隐藏的逻辑脉络便是对绘画真实性的重新定位。从中世纪的"神性现实背景"再到后文艺复兴的地志绘图,风景画始终是功能主义的附属品。然而,一场关于风景画艺术性的哥白尼革命在17世纪欧洲大陆悄然蔓延,这便是风景画中的去人性化。风景画创作者不再沉迷于透视法为其带来的科学真实,而转向一种内在、纯粹的抽象情结,继而反求诸己寻求一种不再关涉神性、记录性抑或是理性的纯粹艺术真实。自此,欧洲风景画的真实得以全然剥脱功能性的桎梏,回归纯粹艺术的本体论探讨,完成了这一次艺术史上的哥白尼革命。The transition of European landscape art from"paintings with natural sceneries"to those bearing independent aesthetic niches was essentially a return to artistic ontology.The underlying logic of such a transition was indeed a re-positioning of the authenticity of art.From serving as the"realistic background of divinity"in the middle ages to topographic art paintings during the post-Renaissance period,landscape painting had always been vassals of functionalism.However,a Copernican revolution about the artistry of landscape art silently spread across the European Continent in the 17th century,that is,the dehumanization in landscape paintings.Instead of continuing to indulge themselves in the scientific realness brought by the perspective,creators of landscape painting shifted to an inward,purely abstract sentiment to seek a purely artistic realness that did not concern divinity,documentation or rationality.Since then,the realness of European landscape painting has been able to completely free itself from constraints of functionality and returned to discussions of the ontology of pure art,thereby completing a Copernican revolution in art.

关 键 词：风景画 艺术本体论 透视法 去人性化 

分 类 号：J209[艺术—美术]