赫尔德论雕塑:触觉,可触性与身体
Herder on Sculpture: Touching, Tactility and Body
德国启蒙运动时期的哲人赫尔德提出雕塑乃触觉之艺术。本文试图阐明此论的内在逻辑和理论肌理,包括为何、如何从触觉角度界定雕塑,建构赫尔德的雕塑可触性内涵 ,并进而指出赫尔德的可触性实质上包括移情的可触性和抽象的可触性,其中前者尤其涉及雕塑表现中的具身性。最后阐明赫尔德的触觉性是跛脚的,它导致了雕塑判断中的盲视。本文亦借用温克尔曼、李格尔、里德等艺术史家的相关论点来批评性地解读赫尔德的雕塑-触觉理论。
This article aims to elucidate Herder's main theory on sculpture that sculpture is a tactile art, and also tries to construct Herder's implicit theory on "tactility". It argues that Herder's haptic quality is much embodied, and could be divides into two categories, the emphatic and the abstract, the thickly embodied and the thinly embodied. Towards the end this article will demonstrate that the domination of the former nevertheless leads to Herder's partial blindness on the tactility of different sculptures.
赫尔德 / 可触性 / 触觉性 / 雕塑 / 身体 {{custom_keyword}} /
Herder / tactility / haptic quality / sculpture / body {{custom_keyword}} /
/
〈 | 〉 |