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人眼凡见美丽之物,辄欲动手临摹之。哲学家维特根斯坦一言既道出了赏美者的身体反应,又触及了艺术评论的悖论。在博物馆里,当我们看到生动的雕刻杰作如罗丹的《吻》,尽管有“不许触摸”的警示牌,仍情不自禁地会产生想触摸它的冲动,想用手去感触那从石头内部解放出来的呼吸着的生命肌肤。提香画中的女人体也有同样的吸引力,触动我们的感官神经,那性感的肌肤与鲁本斯笔下丰满的女人体一样,在我们身体内激起无可言喻的感官愉悦。这种美好的销魂般的愉悦往往会唤起我们对往昔其他美好的心灵和身体体验的记忆,而这种记忆经由艺术得到奇妙的感官升华,超越了纯粹的欲望。艺术所激发的此种感官愉悦难以言说,只能感知体悟。艺术评论显然有知其不可为而强为之的难处。艺术批评的功能是评价作品的优劣,引导艺术爱好者欣赏作品的特质,提高其审美能力。为了达到这个目的,批
Where the human eye see the beautiful things, Neither want to copy hands. Wittgenstein, a philosopher, said both the physical reaction of the viewer and the paradox of art criticism. In the museum, when we see the vivid carving of masterpieces such as Rodin’s “kiss,” despite the “no touch” sign, still can not help but want to touch it impulse, want to feel it by hand from the stone Respiratory internal life liberated skin. The female body in Titian’s paintings has the same appeal, touching our sensory nerves, which, like Rubens’s fuller body of women, arouses in my body the unspoken sensual pleasures. This wonderful ecstatic pleasure often arouses our memories of other beautiful spiritual and physical experiences of the past, which, through art, have wonderful sensual sublimation beyond pure desire. This sense of pleasure inspired by art is unspeakable and can only be perceived. Art criticism obviously has a hard time doing what it can not do. The function of art criticism is to evaluate the pros and cons of works, to guide art lovers to enjoy the qualities of works and to improve their aesthetic abilities. In order to achieve this goal, grant