“静穆”探源——美术史角度的阐释  

An exploration of“quiet grandeur”:an interpretation from the perspective of art history

作　　者：李艳辉 LI Yan-hui

机构地区：[1]山东师范大学美术学院,山东济南250014

出　　处：《东南大学学报（哲学社会科学版）》2024年第3期129-138,152,共11页Journal of Southeast University(Philosophy and Social Science)

摘　　要：“静穆”是文艺美学领域的重要旨趣和论题,一般认为由温克尔曼最早提出,但未被明确阐释。学界对静穆的初始含义缺乏认识,又因引申阐释而产生分歧和争议。静穆最初是一个美术史领域的论题。将其置于历史语境作美术史角度的考察,可探知其初始含义。静穆最典型的物质载体是希腊古典前期雕塑中的自我形象,其风格特征体现为人像表情的严肃和身体的放松,其风格成因是技术的限制和理念的表达。就后者而言,静穆表现的是自我的美丽形象和伟大性格。在很多情境下,静穆甚至蕴含力量、启示与鼓舞。自我形象的“静穆”特征在后世得到较长时间的延续。朱光潜在引入“静穆说”的过程中实现了由美术向美学、诗学的跳跃。“Quiet grandeur”is an important topic in the field of literary and artistic aesthetics.While it is generally believed to have been first proposed by Winckelmann,it has not been clearly interpreted.The academic community lacks a profound understanding of its original meaning,which has led to divergent and contentious interpretations.Given that it is initially a subject within the field of art history,examining it from a historical context can shed light on this problem.Its most typical material manifestation is in the self-portraits of early classical sculpture,so its stylistic features embody a serious facial expression and a relaxed body and this features stem from technological limitations and conceptual expression.“Quiet grandeur”represents the beautiful image and great character of the self.In many instances,it even conveys strength,inspiration and encouragement.These characteristics in self-portraits have extended to the subsequent generations.Zhu Guangqian’s introduction of the concept marks a leap from art to aesthetics and poetics.

关 键 词：静穆 温克尔曼 古希腊雕塑 古典前期 美术史 

分 类 号：I01[文学—文学理论]