摘要
英国艺术批评家罗杰·弗莱的"情感说"曾有力地推动欧洲审美趣味的转向,其观点值得梳理与阐明。20世纪初期,弗莱汲取并修正托尔斯泰的"情感论",提出"艺术是情感交流的手段,以情感本身为目的"的定义。他阐明"情感说"美学意义上的四大突破,提出"以情为目的"的表现原则和"技法与元素——构图——情感"表意途径,其观念基于英国经验主义哲学,与中国诗学的"情志说"和立象尽意的表现原则相通。其"情感说"的价值在于:彰显艺术的情感性与表现性本质,阐明其传统性、原创性、突破性和形式性,实现从印象主义到后印象主义的审美趣味转向。
Roger Fry,a British Art critic,promotes the turning of European aesthetic tastes at the beginning of the 20th century by presenting his emotion theory.The core point of his theory is that“art is a means of communication of emotion,with emotion itself as the end,”which is constructed on the basis of acceptance and correction of Tolstoy’s theory of emotion.Fry clarifies four breakthrough points of emotion theory aesthetically,and putting forward“emotion as ends”creative principle and“techniques and factorscomposition‑emotion”ideographical process,which originates from British empirical philosophy and shares similarities with Chinese“Qingzhi”category and“images for expression”creative principle.Fry’s emotion theory is of great value especially in following aspects:manifesting emotion and expression as essence of art,clarifying its tradition,originality and formalistic feature,and realizing a turning from impressionism to post‑impressionism.
出处
《广东社会科学》
CSSCI
北大核心
2021年第6期144-153,255,256,共12页
Social Sciences in Guangdong
基金
国家社科基金项目“英国形式主义美学及其文学创作实践研究”(项目号14BWW006)的阶段性成果。
