摘要
在伽达默尔的解释学视角中,艺术品作为不同于自然物的、不以实用目的为主的、面向观众敞开的显现物是具有可理解性的,观赏者只要不断地与艺术品进行交流且形成深入的视域融合,就能够达成对艺术品的理解。然而,这种"理解"是随着社会历史的变迁而转移的,同时也正是这些不断变迁的"理解"使得艺术品成为流动着的、有生命的显现物。由此,我们就不能忽视以齐美尔为代表的社会学视角对于艺术品的研究,因为,艺术品作为社会中的产品同时也具有社会象征性,它在接纳观赏者理解的同时也引导并建构观赏者的理解,即艺术品正是由于特定的社会中所具有的某种时代精神而显现成观赏者所理解的样子。
In Gadamer＇s hermeneutics,a work of art is a thing of transfiguration,which is open to visitors and quite different from natural objects. An artwork looks like useless for daily life but is capable of being understood. In order to obtain an understanding of an artwork,a person should make repeated attempts to communicate with it; therefore,a deeper level of understanding of an artwork can be reached only through a fusion of the horizons of the artwork and the visitors. Of course,the understanding of each artwork varies with the changes in social and historical conditions,and it＇s just these varied understandings that give the artwork its fluidity and vitality. However,an artwork is always the product of its society and inevitably becomes its symbol. It not only accepts but also induces and constructs a visitor＇ s understanding. That is to say,some perspectives of the visitors,which sometimes seem so idiosyncratic,have actually been molded by some specific social form. Therefore,we can say that an artwork transfigures according to the visitor＇s understanding,because this kind of transfiguring comes from the spirit of the age. Therefore,we should insist on the sociological perspective since Georg Simmel,and only in this way can we knowhowto better understand an artwork as a thing of transfiguration,which is also intelligible as a social symbol.
出处
《美育学刊》
2015年第4期69-74,共6页
Journal of Aesthetic Education
基金
国家留学基金资助项目<解释学视域下的艺术品研究与批判>(录取文号:留金发[2013]3009
证书编号:201306210256)的阶段性成果
