摘要
艺术观者问题是西方艺术史学史传统中的一个基本问题。其现代版本一直可以追溯到18世纪狄德罗时代的法国学院沙龙展。迈克尔·弗雷德和托马斯·克洛分别从形式美学和艺术社会学的研究视角探索绘画与观者的关系,并就此问题产生了争鸣。在他们争鸣的背后,隐含了观者和公众在内涵与特征上的差异。这两个概念在运用策略上的相近之处揭示了它们服务于现代艺术史叙事的共同目的,标识了观者问题的新面向。
The concept of the art beholder is fundamental to the historical tradition of Western art historiography.Its origins can be traced back to the 18th-century salon exhibitions of the French Academy.Michael Fried and Thomas Crow have examined this concept from the perspectives of form aesthetics and sociology of art,sparking discussions and controversies.Their differing views reveal implicit distinctions in the connotations and characteristics of the beholder and the public.Despite this,the application of these concepts serves the common goal of shaping the narratives of modern art history,indicating a new direction in our understanding of the art beholder.
作者
周计武
王静
Zhou Jiwu;Wang Jing(School of Arts,Nanjing University,Nanjing 210093)
出处
《浙江社会科学》
北大核心
2024年第8期144-154,160,共12页
Zhejiang Social Sciences
基金
国家社科基金艺术学重大项目“艺术学理论的跨媒介建构及其知识学研究”(20ZD26)成果。
