贡布里希对现代艺术的态度及科学哲学视野

Gombrich's attitude to modern art and his view of science philosophy

二十世纪以来,现代艺术蓬勃发展,但是作为艺术史家的贡布里希对其艺术价值并不看好。力图清晰还原贡布里希对现代艺术的否定态度,并借助科学哲学的视野,深入透视贡布里希"图式-修正"理论的方法论依据。研究表明"图式-修正"理论直接源自波普尔证伪主义哲学,在科学哲学中,证伪主义的理论局限早已被有效证明,鉴于贡布里希"图式-修正"理论与证伪主义的密切关系,从而找到了贡布里希艺术史理论的症结,并揭示其理论无法解释现代及后现代艺术的根源。从科学哲学的视野回看贡布里希的图式-修正理论,能够清晰认识到贡布里希艺术史理论的局限性,也证明了相对艺术史家来说,贡布里希更像是一位艺术批评家。

Despite the vigorous development of modem art in the 20th century, Gombrich as an art historian didn＇ t have a good prospect of its value. This paper attempts to distinctly restore his negative attitude to modem art and explore, from the perspective of science philosophy, the methodological basis of his schema theory of amendment. The research shows that the schema theory of amendment comes directly from Popper＇ s falsification, whose limitations have been effectively proved among science philosophies. Owing to the close relationship between the schema theory of amendment and falsification, the root problem of Gombrich＇ s theory of art history is found and the origin of modem art and post - modem art which Gombrich＇ s theory can＇ t explain is revealed. Reviewing Gombrich＇ s schema theory of amendment from the perspective of science philosophy, the limitations of his theory of art history are identified, which proves that Gombrich is more like an art critic than an art historian