论克莱夫·贝尔艺术理论的形式主义美学思想  

On the Formalist Aesthetic Ideas of Clive Bell’s Art Theory

作　　者：黄涵煦 HUANG Han-xu(College of Arts,Hebei University,Baoding,Hebei 071000,China)

机构地区：[1]河北大学艺术学院,河北保定071000

出　　处：《河北开放大学学报》2022年第5期106-108,共3页Journal of Hebei Open University

摘　　要：克莱夫·贝尔在20世纪针对视觉艺术提出了著名的“有意味的形式”艺术理论,成为现代主义艺术理论的重要代表。其中,贝尔对于“意味”“终极实在”等观点的论述引起了后来学者的探讨,学界对相关观点及论述褒贬不一,而这都无法否认贝尔艺术理论即“有意味的形式”对西方传统形式主义美学思想的突破与创新,一方面它突破了自毕达哥拉斯学派以来对再现性的重视,另一方面它强调要重视感官上带来的形式的整体性。这些突破构成了“有意味的形式”中独特的重视整体性的知觉冲动与重视超功利性的抽象冲动,这构成贝尔艺术理论突出贡献的重要方面。In the 20th century,Clive Bell put forward his famous“significant form”art theory for visual art,which became an important representative of modernist art theory.Among them,Bell’s discussion of“significant”,“ultimate reality”and other views has caused later scholars to discuss,and the academic community has mixed opinions on the relevant views and discussions,but none of them can deny the breakthrough and innovation of Bell’s art theory of“significant form”.On the one hand,it breaks through the emphasis on reproducibility since the Pythagoreans,and on the other,it emphasizes the importance of the integrity of the form brought about by the senses.These breakthroughs constitute the unique perceptual impulse that attaches importance to the whole and the abstract impulse that attaches importance to the super-utility in the“significant form”,which constitutes an important aspect of Bell’s outstanding contribution to art theory.

关 键 词：克莱夫·贝尔 “有意味的形式” 形式主义美学 视觉艺术 

分 类 号：J01[艺术—艺术理论]