抽象與移情

作者簡介

Wilhelm Worringer (* 1881 in Aachen; ? 1965 in Munich) was a German art historian. He is known in connection with expressionism. Through his influence on T. E. Hulme his ideas had an effect on early British modernism, especially vorticism.
His best-known work is Abstraction and Empathy, his doctoral thesis. In it he argued that there were two main kinds of art: art of "abstraction" (which was associated with a more 'primitive' world view) and art of "empathy" (which was associated with realism in the broadest sense of the word, and applied to European art since the Renaissance).
W. 沃林格是一位德國的藝術(shù)史學(xué)家。他知名于表現(xiàn)主義。經(jīng)由他對T.E.Hulme的影響他的思想對于英國的現(xiàn)代主義具有一定影響，尤其是漩渦主義(英國繪畫的一種流派，受立體主義和未來主義的影響，偏好機(jī)器樣的形式)。他最著名的作品是他的博士論文，抽象與移情。其中提出了藝術(shù)的兩種主要類型："抽象"的藝術(shù)(與一種更"原始的"世界觀相關(guān))和"移情"的藝術(shù)(與最廣義的現(xiàn)實(shí)主義相關(guān)，實(shí)現(xiàn)于文藝復(fù)興以來的歐洲藝術(shù))。
Worringer was influential because he saw abstract art (for example, Islamic art) as being in no way inferior to "realist" art, and worthy of respect in its own right. This was critical justification for the increased use of abstraction in pre-war European art. Worringer coined the term Expressionism. He taught at the University of Bonn, where Heinrich Lützeler was one of his students.
沃林格的影響力是因?yàn)樗J(rèn)為抽象藝術(shù)(例如，伊斯蘭藝術(shù))并不在任何一方面比"現(xiàn)實(shí)主義"的藝術(shù)低級，應(yīng)該給予它應(yīng)有的尊重。這對于戰(zhàn)前歐洲藝術(shù)的增長中的抽象運(yùn)用是一種很重要的辯護(hù)。沃林格創(chuàng)造了"表現(xiàn)主義"這個(gè)詞匯。他在波恩大學(xué)教書，Heinrich Lützeler是他的學(xué)生。
He posited a direct relationship between the perception of art and the individual. His claim that "We sense ourselves in the forms of a work of art" led to a formula, "The aesthetic sense is an objectivized sense of the self." He also stated, "Just as the desire for empathy as the basis for aesthetic experience finds satisfaction in organic beauty, so the desire for abstraction finds its beauty in the life-renouncing inorganic, in the crystalline, in a word, in all abstract regularity and necessity."[1]
他假設(shè)在個(gè)體和對藝術(shù)的認(rèn)知之間的一種直接關(guān)系。指出"我們在一種藝術(shù)作品的形式中感受我們自己" 導(dǎo)出，"美感是是自身物化的感覺"。他還表明，“正如移情欲求作為審美體驗(yàn)的基礎(chǔ)在有機(jī)美中獲得滿足一樣，抽象欲求在拒絕生命的非有機(jī)形式中獲得滿足，比如水晶，一個(gè)詞語，和所有的抽象規(guī)則與必要物?！?br />His work was widely discussed and influenced Klee amongst others. He is credited by philosopher Gilles Deleuze in A Thousand Plateaus as being the first person to see abstraction 'as the very beginning of art or the first expression of an artistic will.
At the time his Egyptian Art was published by G.P. Putnam's Sons Ltd, the Sphinx of Gizeh had been recently restored.
他的理論被廣泛討論并影響到Klee等人。哲學(xué)家Gilles Deleuze在A Thousand Plateaus書中盛贊他是第一個(gè)將抽象看作是藝術(shù)的最初形式或藝術(shù)意志的最初表達(dá)的人。
//Joan譯自維基百科

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