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在艺术创作中,审美情感的特征是非常复杂而又难以把握的。许多理论家、艺术家都对此问题伤过脑筋,提出过各种各样的见解。最主要的有这样两种观点:自我表现论与人类情感表现论。 自我表现论认为艺术创作是艺术家情感的“自我表现”,是情感的自然流露。自西方艺术中的浪漫主义思潮产生之后,这个看法就为许多艺术家所坚持。从英国浪漫派华兹华斯、雪莱到中国的浪漫诗人郭沫若都持这种看法。著名音乐家勋伯格也是主张“自我表现”的,他说:“艺术家所努力追求的只有一个最大的目标,就是表现自己。”即这一派观点的论者认为艺术创作中的情感只能是自我的情感。在他们看来,艺术就是艺术家内心情感的流露。只有当创作者的情感集聚、浓缩、濒于迸发时,他们才能创作出感人的作品。这一观点有它合理的东西,那就是就艺术地把握世界而言,艺术家只有通过自己情感的全部投入、燃烧,才能照亮眼前的现实,才能有所发现。
In artistic creation, the characteristics of aesthetic emotion are very complicated and difficult to grasp. Many theorists and artists have given up their minds on this issue and have put forward various opinions. There are two main kinds of viewpoints: self-expressionism and human emotion expressionism. Self-representation theory considers art creation as “self-expression” of artist’s emotion and natural expression of emotion. This view has been followed by many artists since the emergence of romanticism in Western art. From the romantic English, Wordsworth, Shelley to the romantic poet in China, both hold the view. The famous musician Schoenberg also advocated “self-expression,” he said: “The only goal the artist strives for is to express himself.” That is, the viewers of this school think that the emotion in the art creation can only be Self-emotion. In their view, art is the artist’s inner emotion. Only when the creators’ emotions gather, concentrate, and be on the verge of collapse, can they create impressive works. This point of view has its reasonable thing, that is, in terms of art grasping the world, artists can only find out if they can only burn their own emotions to illuminate the immediate reality.