有基于纯粹视觉的艺术吗?——以罗斯金“纯真之眼”说及其争论为讨论中心  

Is There Art Based on Pure Vision:Centered on Ruskin's“Innocent Eye”Theory and Its Controversy

作　　者：王弘远 Wang Hongyuan

机构地区：[1]山东大学文艺美学研究中心

出　　处：《艺术设计研究》2023年第5期114-121,128,共9页Art & Design Research

基　　金：国家社科基金重大项目“西方自然美学通史”(项目编号:19ZDA044)的阶段性成果。

摘　　要：作为一种立场鲜明的艺术创作观,罗斯金“纯真之眼”说指出了绘画创作需要排除一切先在观念,从感知色彩的纯粹视觉开始。此说对印象派及20世纪现代主义绘画影响深远,成为了现代艺术理论中的重要问题。贡布里希揭示了纯粹视觉概念的虚构性,并以语言为范式,讨论了图式系统与艺术感知之间的复杂作用。布列逊不满图式论隐含的感知主义,强调绘画是一种社会符号。丹托基于后现代哲学,强调艺术源于解释,与感知无关,彻底切断了纯粹视觉与艺术的关联。克拉里以知识考古学的方式考察认识论模式的变迁,展示了纯粹视觉概念与现代性观念的深刻关联。回顾现代艺术理论家围绕“纯真之眼”说的争论,有助于我们更好地理解艺术与感知的复杂关系,以及艺术理论研究的限度与效力。As a famous theory of artistic creation,Ruskin’s“innocent eye”theory suggests that painting creation should eliminate all preconceptions and start from the pure visual perception of color.This theory has had a profound impact on Impressionism and 20th century modernist painting,and it has become an important issue in modern art theory.Gombrich reveals the fictional nature of pure vision and discusses the complex interaction between schema system and artistic perception with the paradigm of language.Dissatisfied with the residual perceptualism of schema theory,Bryson indicates paintings are social signs.Danto,based on the postmodern philosophy,emphasizes that art originates from interpretation and has nothing to do with perception,completely cutting off the connection between pure vision and art.Crary examines the change of epistemological model in the way of archaeology of knowledge,and shows the profound relationship between pure vision and the concept of modernity.A review of debates among modern art theorists over the“innocent eye”theory helps us to better understand the complex relationship between art and perception,as well as the limits and effectiveness of the study of art theory.

关 键 词：纯真之眼 图式 社会符号 解释 现代性 

分 类 号：J05[艺术—艺术理论]