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在表达艺术应真实地反映客观生活的观点时,达·芬奇曾说“画家的心应该象一面镜子。”然而这心灵的镜子所反映出来的生活,并不等同于生活的原貌,因此达·芬奇把它叫做“第二自然”。所谓“第二自然”,是指艺术家的情感特征和生活特征的化合物。它失去了生活原型的一部分性状而获得了情感的特征。在这一转化过程中,想象无疑占有重要的地位。想象就是客观生活的某一特性和艺术家主观心灵某一侧面之间的桥梁。经过想象的生活,才是抒情化了的生活,诗化了的生活。它有生活的血统,也有艺术家的血统,它是艺术家与生活的混血儿。艺术创作从某种意义上说,就是“使情感生活客观化”。显然,一方面,情感生活只有借助于想象,才能作真切、生动、酣畅淋漓的表达;另一方面,情感又是想象的动力,强烈、深沉的情感往往激活创作主体的想象力,使想象显得活跃、丰富而瑰奇。本文就从作家、艺术家在艺术想象中以主体情感改造对象,使对象契合其审美理想,即“以情造物”的角度谈谈情感的功能。
When expressing art should truly reflect the view of objective life, Leonardo da Vinci once said that “the painter’s heart should be like a mirror.” However, the life reflected in the mirror of the soul does not equal the original appearance of life, Finch called it “second nature.” The so-called “second nature” refers to the compounds of the artist’s emotional and life characteristics. It lost the character of a part of life’s prototype and gained emotional characteristics. In this process of transformation, imagination undoubtedly occupies an important position. Imagination is the bridge between a certain characteristic of objective life and one side of the artist’s subjective mind. After the imagination of life, is the lyrical life, poetic life. It has a living descent, but also the artist’s descent, it is a hybrid artist and life. In a certain sense, artistic creation is “objectifying emotional life”. Obviously, on the one hand, emotional life can only be described as vivid, vivid and heartily only by means of imagination; on the other hand, emotion is also the driving force of imagination. The intense and deep emotions often activate the imagination of the creative subject and make the imagination appear Active, rich and surprising. In this paper, we make the object transform the object from the artistic imagination in the imagination of the artist so that the object can fit the aesthetic ideal, that is to say the function of emotion in the view of “creating the object with love”.