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霍克斯在《结构主义和符号学》一文中指出:艺术形式和风格裂变的本质原因不在艺术活动系统自身,而在于艺术活动系统与其相依存的文化生态环境之间的结构关系所发生的变动,然后又在它们之间感觉那种关系。而当下的艺术领域,人们似乎更注重从艺术活动系统内部建构艺术演变发展史或过分强调艺术自律性。人们关注于内部形式的演变,却忽视了一些外部因素,而本人认为这些因素对于考察艺术的发展具有同样重要的作用,因为艺术的演变是历史的过程,是在“合力”的作用下产生的,(多种矢量相互作用,汇成一个合力),对于这些不同方向的矢力给予同样的重视,意味着更逼近艺术史的真实,本人虽对霍克斯的观点不完全认同,但他的确给予我们一个启示,即换一个视角,让我们从艺术系统的外部条件,包括地理环境中的气候、地形这些因素来考察美术的发展。 谈到气候、地形对一个民族美术的影响。就不能
Hawkes pointed out in his article “Structuralism and Semiology” that the essential cause of the fission of the art form and style is not the art activity system itself but the change of the structural relationship between the art activity system and its dependent cultural environment , Then feel the relationship between them again. In the current field of art, people seem to pay more attention to constructing the history of the evolution of art from within the art activity system or overemphasizing the art self-discipline. People pay attention to the evolution of internal forms, but neglect some external factors, and I think these factors play an equally important role in examining the development of art because the evolution of art is the historical process and is generated by the “synergy” , (A variety of vectorial interactions, together into a joint force), for these different directions of the same emphasis on the force that means closer to the truth of art history, though I do not fully agree with Hawkes’s view, but he really Give us a revelation, that is, from a different perspective, let us examine the art development from the external conditions of the art system, including the climate in the geographical environment, terrain. Talking about the influence of climate and terrain on a national art. just can not