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作 者:张丽萍[1] ZHANG Liping
机构地区:[1]浙江艺术职业学院,杭州310053
出 处:《浙江艺术职业学院学报》2023年第2期126-134,共9页Journal of Zhejiang Vocational Academy of Art
摘 要:“艺术真实”是个空间宏大而纠缠繁复的论题。从摹仿到表现,牵涉到艺术品、艺术家、欣赏者三者的真实,且其语义、标准、视角历时而变,任一角度均弥散着多种可能。艾布拉姆斯的艺术分析图式为此探寻提供了一条简捷的路径,可藉此勾勒出艺术与现实、虚拟与真实、可信与存在三个考察艺术真实的纬度。一部艺术发展史可理解成是对艺术与现实关系的认知史,而艺术也是现实一种,它以自己的方式又创造了一个“现实”,但相对于现实真实而言,“艺术真实”只能算作一种语义上的借用或隐喻,因此,寻找艺术真实意味着是从虚拟中寻找真实。如果说艺术虚拟是通往艺术真实的必由之路,那么可信便成了欣赏者体验艺术真实的一座必不可少的桥梁。尽管,从聚焦现实到依赖欣赏者,艺术真实谈论的重心悄然而变,但现实与心灵始终是两个衡量艺术真实最重要的坐标。艺术品的存在真实与体验真实并不是不相容的,在体验美的同时,艺术正散发着真的光芒,尽管,它含而不露。“Truth in arts”is a grand and complicated issue,in which the authenticity of artworks,artists and appre⁃ciators are all involved on the way from imitation to expression.In addition,the semantic,standard and viewer are all changing with time going by.No matter which aspect we choose to stand,there are a variety of possibilities.However,the artistic analysis diagram of Abrams offers us a concise path to explore“truth in arts”.We can whereby outline three authentic dimensions,that is,art and reality,virtual and reality,credibility and existence.The history of art can be recognized as a history of cognition of art and reality.Art is also a kind of reality and it creates another“real⁃ity”in its own way.Compared to art reality,“truth in arts”can just be looked as kind of“metonymy”or“meta⁃phor”of semantic.Therefore,exploring“truth in arts”means looking for the reality in the virtual.For appreciator,if art virtual is the only route to art reality,it is the credibility that is the only bridge to experience art reality.The cen⁃ter of balance of art reality has shifted quietly from focusing on reality to appreciators.However,reality and soul are always two important coordinates which are used to measure“truth in arts”.The existence of artworks can compatible with experience reality.While we are experiencing the beauty of artworks,art is also shining,though,implicit.
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