导　　师： 滕守尧

学科专业： 010106

授予学位： 博士

作　　者： ;

机构地区： 南京师范大学

摘　　要： 苏珊·朗格/(Susanne K.L anger,1895-1985/)是美国当代著名哲学家、艺术理论家,也是西方美学史上的一位具有卓越成就的女性美学家。她秉承和发展了卡西尔的人类文化符号论,将艺术视为一种人类情感符号的创造,并将这些原理广泛运用到各个具体的艺术门类,形成一个相当完备的符号美学体系,是符号论美学的集大成者。 “生命形式”概念是朗格理论中一个极为重要的概念。它首先在《情感与形式》一书中被提出,在《艺术问题》和《心灵：论人类情感》中则作了专章论述。从朗格对“生命形式”的定义,我们发现朗格将艺术的本质从“符号”、“情感的形式”、“生命的投射、”最终定位在“与生命的基本形式相类似的逻辑形式”,即“生命形式”上。虽然后人只是强调了她的符号美学创始人的身份,但仔细研究朗格的美学思想会发现,“生命形式”是其艺术哲学体系的核心范畴,其艺术哲学思想中的每一部分都是指向艺术的“生命形式”理论,每一部分都可以在艺术的“生命形式”理论中找到答案,每一部分也都是在证明“艺术即是一种生命形式”。它就像一条连结人类生命与艺术形式之间的纽带,一方面强调艺术是对人类情感与内在生命的表达,艺术是人类生命的投射,肯定了“艺术表现生命”的本质属性；另一方面也将艺术自身视为一种有机的“生命形式”,关注艺术形式本身的独立审美价值。通过这条纽带,人的情感现实、生命形式和艺术之间的血脉相连。因此,“生命形式”是开启朗格艺术哲学体系的一把新的钥匙,为我们展现了朗格艺术哲学的更为丰富和精彩的内涵,同时它突破传统美学中“情感”与“形式”二元对立的桎梏,将这种二元对立统一在“生命形式”这一概念中,为我们把握艺术与生命的关系,艺术之本质提供了新的视角。 本研究从苏珊·朗格“生命形式”概念去切入其符号艺术哲学,通过“生命形式”这一红线将朗格的艺术理论进行有机融合,建构朗格的艺术生命形式理论。在此基础上,与中国艺术之“气韵生动”形式理论进行比较和对话,总结出艺术形式生命内涵以及艺术与生命的关系,获得对艺术本质的崭新认识——艺术是与生命“血脉相连”的“生命形式”。最后,在艺术生命形式理论的视野下审视我国当前的艺术教育现状,针对当前艺术教育中“生命”的缺席和遮蔽,提出“回归生命之根的艺术教育”的构想。从艺术与生命的关系,阐述艺术创作是一种“生命”的自然生成过程,艺术欣赏则是生命与“生命”的“对话”过程,强调艺术教育就是要尊重和培养学生“有感而发”的艺术表达习惯,使学生真正感受到艺术所蕴含的“生命”力量,并与这种艺术“生命”进行对话,在“对话”中,以实现人之生命与艺术之“生命”的丰盈和生长。 Susanne Katherina Langer /(1895-1985/) was a famous American philosopher and art theorist, as well as a successful female esthetician. She developed Ernst Cassirer's Theory of human cultural symbols and regarded art as the creation of forms symbolic of human feeling from the aspect of new symbolic theory. These principles were applied to various art fields and finally formed a system of symbol aesthetics. Thus, she became the epitomizer and terminator of symbol aesthetics. "Living form", which was proposed in Feeling and Form for the first time and interpreted in chapters in Art Problem and Mind:An Essay on Human Feeling, is a key conception in her theory. According to her conception of living form, we find that she defines the essence of art as "logic form similar to basic life form", instead of "symbol","feeling form" and "life projection". Though she was identified as the founder of symbol aesthetics, she uses "living form" as the key conception in her art philosophy. It is applied to each part of her art philosophy and answers questions of each part of her art philosophy. Thus, she proves that "art is a form of life". As a bond that join human life and art form, on the one hand, her theory defines the nature of "art express life" by stressing that art express and project human feelings and inner life. But on the other hand, it sees art as an organic "living form" and concentrates on the special aesthetic value of art form. Through this bond, human feelings reality, living form and art are closely connected. Thus,"living form" shows rich connotation of Langer's art theory to us and is a new key to it. Her theory breaks the shackles of dualism of feeling and form and integrates the opposites in conception of "living form". This is a new perspective to understand the relationship of life and art, as well as the nature of art. From the angle of "living form" concept, this dissertation integrates other art theories of Langer and constructs "living form theory" of Langer. Furthermore, it compares Langer's theory with "vivid" theory of Chinese art and summarizes the life connotation of art as well as the relationship of life and art, so as to introduce a new understanding of art nature, which regards art as a form of life. In conclusion, it examines the ait education in China and introduces the art education idea of "back to the root of life".

关 键 词： 苏珊 朗格 生命形式 气韵生动的形式 艺术教育

分 类 号： [J01]

领　　域： [艺术]