摘要
格式塔心理学美学在考夫卡为意识的能动性正名之后,由阿恩海姆通过肯定知觉的认识功能,弥合了知觉与思维的断裂,实现了知觉与艺术的结合。继而贡布里希跨学科地借鉴并联合非艺术领域的相关成果,以“图式”理论为艺术创作提供了艺术知觉的运作机制。克拉里在前二者的理论之上进一步反思了知觉的现代性,提出以综合的艺术知觉视域看待主体的知觉及其意义,为对抗现代化进程中艺术与知觉的断裂以及主体意义建构时造成的临时性提供了解决方案,实现了知觉的整合。
After Kurt Koffka justifies the dynamic role of consciousness in the Gestalt Psychology of aesthetics,Arnheim closes the gap between perception and thinking and realizes the combination between perception and art by confirming the cognitive function of perception.Gongbrich borrows and unites interdisciplinary relative achievements in the non-art field and uses the schema theory to provide the operating mechanism of artistic perception for artistic creation.Crary further reflects on the modernity of perception and considers to treat subject’s perception and its significance from the view of integrated art-perception,so as to offer solutions to address the gap between art and perception in fighting against modernity and the temporality caused by the construction of subjective meaning to realize the integration of perception.
作者
夏兴才
王雪柔
XIA Xingcai;WANG Xuerou(College of Liberal Arts,Anhui Normal University,Wuhu 241003,China)
出处
《广西科技师范学院学报》
2021年第4期42-47,共6页
Journal of Guangxi Science & Technology Normal University
