發(fā)布時間：2017-12-28 05:00

  本文關(guān)鍵詞：西班牙藝術(shù)史家拉富恩特研究　出處：《南京大學(xué)》2016年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 拉富恩特·費拉里 西班牙藝術(shù)史 委拉斯開茲 藝術(shù)的去人性化 生命的悲劇意識

【摘要】：恩里克·拉富恩特·費拉里是20世紀(jì)西班牙最重要的藝術(shù)史家之一。西班牙藝術(shù)史學(xué)科的建立相對較晚,作為這一學(xué)科的第二代西班牙學(xué)人,拉富恩特?fù)?dān)負(fù)了為西班牙藝術(shù)史正名的使命,在西班牙民族藝術(shù)的敘事中發(fā)掘出其獨特的美學(xué)傳統(tǒng)和總體特征。他以“混沌而不連貫的生命性”來貫穿看似斷裂無序的西班牙藝術(shù)史,對“粗野紋路”的概念進(jìn)行進(jìn)一步的闡釋,對西班牙民族的獨特審美趣味進(jìn)行剖析,并結(jié)合歷史指出了西班牙藝術(shù)的中世紀(jì)傳統(tǒng),從而揭示出西班牙藝術(shù)的特質(zhì)。在強調(diào)西班牙藝術(shù)的特殊性的同時,他又指出西班牙藝術(shù)史是歐洲藝術(shù)史的一部分,對西班牙藝術(shù)的解讀因而離不開歐洲背景,并且指出西班牙應(yīng)當(dāng)加強與歐洲鄰國的藝術(shù)交流。他的藝術(shù)史寫作和藝術(shù)史論的提出發(fā)生在西班牙內(nèi)戰(zhàn)后的佛朗哥專制統(tǒng)治時期,不得不在批判的鋒芒與主流意識形態(tài)的鉗制之間尋找平衡,但總體來看,拉富恩特的藝術(shù)史敘事、批評和理論是與官方話語拉開一定距離的。同時,拉富恩特的藝術(shù)史論又是站在對實證主義、庸俗社會學(xué)和形式主義藝術(shù)史論進(jìn)行批判的高度上的。他堅持認(rèn)為,對藝術(shù)作品的解讀離不開對作品背后的人的解讀。他指出,是杰出藝術(shù)家在引領(lǐng)藝術(shù)史的變遷,而藝術(shù)史變化的核心是不斷更迭的藝術(shù)家代際；藝術(shù)史研究既離不開對藝術(shù)家個人和藝術(shù)家群體的考察,也離不開對歷史情勢的闡釋和藝術(shù)批評。在對委拉斯開茲、戈雅和蘇洛亞加這三位西班牙偉大畫家的專人研究中,拉富恩特就體現(xiàn)了他的藝術(shù)史論觀點。在對委拉斯開茲的研究中,拉富恩特敘述了畫家的生平,強調(diào)委拉斯開茲致力于描繪日常生活、給予每一位入畫之人以尊嚴(yán),并運用“人生如夢”的哲學(xué)觀點闡釋了委拉斯開茲的美學(xué)。在對戈雅的研究中,拉富恩特著眼于藝術(shù)家的個性,將戈雅置于革命年代的背景中,揭示了這位西班牙藝術(shù)家的現(xiàn)代性。在對蘇洛亞加的研究中,拉富恩特發(fā)掘出其作品中的西班牙民族個性,并肯定了這位藝術(shù)家對人性尊嚴(yán)的關(guān)懷。從對藝術(shù)家專人研究對象的選擇可以看出,拉富恩特表現(xiàn)出偏保守的傾向,尤其是在面對現(xiàn)代藝術(shù)時。拉富恩特的藝術(shù)史論不僅秉承了他的藝術(shù)史先師,更是繼承了奧爾特加和烏納穆諾這兩位西班牙重要哲學(xué)家的思想。他在新的歷史語境里對奧爾特加的“藝術(shù)的去人性化”理論作了新的解讀,在對走向異化的現(xiàn)代藝術(shù)進(jìn)行批判的同時,提出藝術(shù)中人性的復(fù)歸。他結(jié)合烏納穆諾“個人拯救”的思想,提出“個人拯救的美學(xué)”、“境遇拯救的美學(xué)”的概念,在對肖像畫的闡釋中深化了藝術(shù)與個人生命不可分離的論點。不僅是古典繪畫,在現(xiàn)代繪畫中,他也找到了生命的表達(dá),在米羅與純粹抽象畫派之間找出區(qū)別,建立了一種有別于“有意味的形式”的、建立在生命基礎(chǔ)上的藝術(shù)解讀范式。拉富恩特的藝術(shù)史論始終建立在關(guān)懷人性、關(guān)懷生命的基礎(chǔ)上,對今天的人文研究仍不失其啟發(fā)意義,既體現(xiàn)出西班牙文化思想的特色,也反映出時代形勢在一個西班牙人文研究者身上所造成的矛盾。
[Abstract]:Enrique Lafuente Ferrari was one of the most important historians of art in Spain in the twentieth Century. The Spanish art history established relatively late, as the subject of the second generation of the Spanish people, responsible for the rectification of names for the Lafuente art history of Spain's mission, discover its unique aesthetic tradition and general characteristics in the Spanish National Art narrative. He takes "chaos and life" incoherent to seemingly disordered fracture through Spanish art history, further explanation of the concept of "rough lines", the Spanish nation's unique aesthetic taste are analyzed, and combined with the history of Spanish art pointed out that the medieval tradition, thus revealing the Spanish art. While emphasizing the particularity of Spanish art, he also pointed out that Spanish art history is a part of European art history. The interpretation of Spanish art is inseparable from the European background. It also points out that Spain should strengthen its artistic exchanges with European neighbors. The writing of art history and art history of his place in the Spanish Civil War after the dictatorship of Franco, had to find a balance between the edge and the mainstream ideology critique grasp, but overall, Lafuente art history and criticism and narrative theory is a certain distance with the official discourse. At the same time, Lafuente's historical theory of art is at the height of criticizing the positivism, the vulgar sociology and the formalism of the art of art. He insists that the interpretation of the works of art can not be separated from the interpretation of the people behind the work. He pointed out that outstanding artists are leading the change of art history, and the core of the change of art history is constantly changing artists. In the special research of Velazquez, Goya and Suluoyajia the three great Spanish artist, is the embodiment of his Lafuente art history view. In the study of Velazquez, Lafuente describes the painter's life, emphasizing Velazquez dedicated to depicting everyday life, give every person painting with dignity, and use the "philosophical point of view to explain the Life is but a dream. Velazquez aesthetics". In the study of Goya, focusing on the personality of the artist Lafuente, Goya will be placed at the revolution in the background of modernity reveals the Spanish artist. In the study of Suluoyajia in unearthed Lafuente in the works of Spanish national personality, and affirmed the artist of human dignity and care. From the choice of the research object of the artist, it can be seen that the tendencies are conservative, especially in the face of modern art. The art history Lafuente not only uphold the manners of his art history, is inherited from Ortega and Oon Mu Nor of the two Spanish important philosophers. In the new historical context, he made a new interpretation of Ortega's "dehumanization of art" theory, and criticized the modern art of alienation, and put forward the return of human nature in art. Combined with Oon Mu Nor's thought of "personal salvation", he put forward the concept of "aesthetics of personal salvation" and "aesthetics of circumstance salvation", which deepened the argument that art and individual life can't be separated from the interpretation of portrait. Not only is the classical painting in modern painting, he also found the expression of life, to find out the difference between Miro and pure abstractionism, established a different from the "a meaningful form", artistic interpretation in life on the basis of paradigm. The Lafuente art history has always been based on care for the humanity, care of life, the humanistic research today will not lose its significance, not only reflects the Spanish culture thought characteristic, also reflects the situation in a Spanish era between the humanities researchers who caused the.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：J205
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本文編號：1344641