形式、象征与情境:基于艺术史的视觉艺术阐释模式研究

Form,Symbolic and Situational:A Study on the Mode of Visual ArtInterpretation based on Art History

自19世纪末期开始,西方艺术研究方法逐渐向多元性、跨学科性转向。形式主义、图像学与情境逻辑分析都曾对艺术图像的意义问题作出深入阐释,并从“视觉形式”、“象征”与“艺术家创作情境”三种不同角度运用独特手段对艺术作品展开研究,其结论呈现出鲜明的理论气质与个性特征。以上三种不同的艺术图像阐释方法皆认为艺术作品的意义无法局限于对其表层意义的阐释,而应挖掘图像更深刻的历史、文化与哲学思想内涵。对更为深刻思想内涵的阐释显示出了三种不同的探索视觉艺术意义的方法实践与理论创见。因此,将沃尔夫林、潘诺夫斯基与贡布里希的视觉艺术阐释模式加以对比研究,对图像美学的发展、艺术研究范式的建构都意义重大,同时亦彰显出艺术史发展的时代脉络以及更丰富的图像阐释径路。

Since the end of the 19th century,the research methods of western art have gradually turned to be pluralistic and interdisciplinary.Formalism,iconology and situational logic analysis have all made an in-depth explanation of the meaning of artistic images,and studied artistic works from three different perspectives,namely"visual form","symbol"and"artist's creation context",by using unique means.Their conclusions show distinct theoretical temperament and personality characteristics.The above three different interpretation methods of artistic images all believe that the meaning of artistic works cannot be limited to the interpretation of its surface meaning,but should be mined image more profound historical,cultural and philosophical connotations.The interpretation of the more profound ideological connotation shows three different approaches,it explores the significance of visual art,both practical and theoretical.Therefore,the comparative study of Wolfflin's,Panofsky's and Gombrich's interpretation modes of visual art is of great significance to the development of image aesthetics and the construction of the paradigm of artistic research.Meanwhile,it also reveals the historical context of the development of art history and more abundant interpretation paths of images.