伦敦雾中的莫奈:被污染的自然何以成为审美对象  

Monet and London Fog:Why the Polluted Atmosphere Could be the Aesthetic Object?

作　　者：王茜 Wang Qian

机构地区：[1]华东师范大学国际汉语文化学院,上海200062

出　　处：《学术研究》2021年第11期157-164,178,共9页Academic Research

摘　　要：面对莫奈的雾霾系列绘画,欣赏者可能会出于当代生态观念提出“被污染的自然何以成为审美对象”这一问题。这个问题看似合理,实则潜藏两种艺术观的错位:艺术欣赏以美为基础还是以情动为基础。莫奈无意表现美的自然,其画作呈现的是自然物质或自然力触碰此时此地在场的人的身体时产生的诸般情状与情动。就此而言,伦敦雾不是被理智心灵判定的“污染”,而是引发身体情动的陌生化生态情境。艺术作品除了直接宣扬环境保护观念之外,还能够引导我们从感受性的身体这个焦点出发去理解人与物质环境之间的情动关联。正是在此意义上,看似不那么生态的莫奈绘画其实指向一种更加复杂的深生态意识。While appreciating painting of Monet,people may ask the question that why the polluted atmosphere could be the aesthetical object.This question implies the dislocation of two artistic views:the artistic view of pursuing beauty and the artistic view based on emotion.Monet does not intend to describe the beautiful nature;his paintings show the affection that happened when the natural material or energy touch people’s body.In Monet’s painting,London fog is not“pollution”judged by reason,but estrangement situation that activates the body sensibility which is usually suppressed by rational mind.In ecological culture,art can not only promote environmental protection directly,but also can leads us to explore the relationship between human and nature from the perspective of the perceptual body.It is in this sense that Monet’s painting is actually associated with more complex deep ecological consciousness.

关 键 词：印象派绘画 情动 深生态学 生态艺术 

分 类 号：J01[艺术—艺术理论] B83-0[哲学宗教—美学]