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批评是人的一种阐释活动。严格意义上的阐释活动是靠语言实现的,批评家正是运用语言的专家。但美术作为一种语言,虽然和文字语言在某些性质上有相同之处,但两者在根本形态和内在特质上的间隔是很明显的。所以,美术不可能完全转换为文字语言,而且在很大程度上,美术是排斥文字语言的阐释的。在这个意义上可以说,美术批评是对不可言说的进行言说。那么,美术批评对于美术又有何意义呢?笔者以为,除去美学及社会评价这一功能外,美术批评的另一个作用便是沟通视觉和文字这两种语言。这种作用是双向的,一方面使美术的含义通过语言的阐释更加社会化、普遍化,另一方面,在对美术文本的阐释中,既有的文字语言也在应对视觉语言的“挑战”中不断开拓自己。这应是我们在看待美术批评这一语言活动时不可忽视的一个维度。美术作品这个文本一旦产生,就向观众敞开了意义生成的无限可能性,但这种可能性要变成现实的、人们所理解的意义,就必须通过语言来完成。因此,欣赏者需要借助语言来理解并再创造出作品的意义。
Criticism is an interpretation of human activity. Strict interpretation of the activities of the language to achieve, critics is the use of language experts. However, the art as a language, though different from the written language in some aspects, is obvious in its fundamental form and inherent characteristics. Therefore, fine arts can not be completely converted into written language, and to a large extent, fine arts are exclusive of the interpretation of written language. It can be said in this sense that art criticism speaks for the unspeakable. So, what is the significance of art criticism to art? In my opinion, apart from the function of aesthetics and social appraisal, the other function of art criticism is to communicate the two languages of vision and writing. On the one hand, the meaning of fine arts is more socialized and universalized through the interpretation of language. On the other hand, in the interpretation of fine arts texts, the existing language of writing also responds to the “challenge” of visual language. On the other hand, In the continuous development of their own. This should be one of the dimensions that we can not ignore when we look at the language criticism of art criticism. Once the text of a work of art is created, the infinite possibilities of meaning generation are opened to the audience. However, this possibility is to be realized. The meaning to be understood by people must be accomplished through language. Therefore, the appreciator needs language to understand and recreate the meaning of the work.