论文部分内容阅读
一、纯真之眼与预成图式17、18世纪欧洲各国流行着两股美学思潮,一种是大陆理性主义,认为人的知识来源于先天的理性。另一种是英国经验主义,认为人的知识来源于后天的经验和实践。英国经验主义美学家洛克就认为:“人心本来是一张白纸,一切知识都只是感官印象的拼凑”。①19世纪,英国艺术批评家拉斯金在洛克“白板说”的基础上,提出了著名的“纯真之眼”(innocent eye)的观点。拉斯金是继艺术史家普林尼和瓦萨里之后,把整个西方艺术的发展,看着艺术向摹仿现实的真实的进展。并认为这个进展之所以缓慢,是“因为我们大家是如此难以把我们实际所见的东西跟仅属所知的东西截然分开,从而恢复那纯真之眼。”②并认为
First, the innocence of the eye and pre-schemed 17th and 18th centuries the prevalence of the two European countries aesthetical trends, one is continental rationalism, that human knowledge comes from innate reason. The other is British empiricism, that people’s knowledge comes from acquired experience and practice. Locke, a British empirical esthetician, thinks: “People’s mind is a piece of white paper, and all knowledge is just a patchwork of sensory impressions.” In the 19th century, British art critic Ruskin proposed the notion of “Innocent Eye” based on Locke’s Whiteboard Theory. Ruskin is the true progress of the development of the entire Western art, watching the art to imitate reality, following the artistic historians Pliny and Vasari. And consider this progress to be slow, because “it is so hard for all of us to separate the thing we actually see from the one that is known to restore the innocent eye.” "