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1、 模仿论论文：从再现的视角看艺术世界的相似问题模仿论论文：从再现的视角看艺术世界的相似问题【中文摘要】古希腊,哲学家就发现艺术作品和现实事物的相似关系,所以将模仿论作为艺术的定义。西方哲学中为人所知的最早的艺术理论是模仿论。柏拉图和亚里士多德一致认为,戏剧是模仿的,服务于戏剧的音乐舞蹈也是模仿的。模仿论这个概念是发展变化的。不论是在范围上,还是在形态上都有所变化。实际上,这些变化却加速了模仿论的衰亡。本文第一章的内容是对模仿和再现这两个概念的分析。模仿在范围上的变化表现在：从模仿性的艺术到所有艺术都是模仿的认识。其次在形态上,表现在对于模仿和自然的关系认识上的变化。再现在艺术史上的形成和变化,
2、与现实主义文学风格的提倡关系密切。不同的艺术风格对再现这个概念的要求和界定也是不同的。从模仿论产生的再现论,经历了诸多的质疑,本文将从再现作为艺术创造起源和来源的角度进行分析,并且通过描述再现和艺术的关系,证明再现不仅不能作为艺术的定义,而且把再现作为为艺术分类的一个标准也是不可行的。第二章解决的问题主要是传统模仿论和再现论一直关注和试图解决的相似问题。无论我们所关注的是模仿的本性,再现的本性,还是艺术作品与世界之间的关系,这个问题的核心都在于相似,也可以称为相像问题。在艺术作品中,我们很容易识别出和我们的现实世界相似的一些形象。在传统的研究中,我们坚持艺术来源于生活,生活是艺术的根源。这是对
3、相似产生的根源的认识。这种简单的根源认识,使得我们考察的眼光局限于此,不能从整体上把握相似的表现和意义。这一章将解决的问题就是,相似对于艺术来说是一种巧合,还是一种必然。也就是相似对于艺术的意义是什么,我们还可以接着追问,相似对于艺术是必要和充分的吗,我们是不是能够用相似来为艺术定义和分类。在艺术的发展过程中,现代艺术的发展,陷入了制度的桎梏。当代艺术中的相似问题更需要特别的关注。第一,摄影和电影等新兴艺术借助技术手段能够更逼真的再现现实,与现实物更为相似。这个时候绘画受到了挑战,那么是不是摄影和电影以其高度的相似程度,艺术性就一定高于绘画,怎样判断它们的艺术价值。这也是第三章将具体论述的问题
4、。第二,现成品、波普艺术、行为艺术等和生活几乎同步的行为,在相似的视野下应该怎样理解,或者说是不是能够根据它和生活的相似程度来判定其艺术性。本文第三章把艺术与现实的关系作为关照视域,继续讨论在具体的艺术中模仿和再现的使用对于艺术本身的作用。而且通过相似的角度,我们可以更好的理解艺术和现实的关系。首先我们要关注的是,艺术品中的艺术形象和现实真东西的关系。在现实主义发展的几个阶段,从批判现实主义到超现实主义再到魔幻现实主义,整个社会和文化现实发生了巨大的变化,对于艺术形象和现实的相似问题的认识也发生了变化。其次我们关注两个艺术领域非常重要的理论问题：艺术中的虚构问题,我们的一个常识是艺术离不开虚构
5、,但是虚构为什么能够将艺术性发挥出来,这其中的关系却是一个新的要关注的问题。艺术形象的非真问题,我们为什么乐于欣赏一个真假参半的艺术世界,这个假的世界为什么对我们有如此的吸引力,这也是一个新的我们要关注的问题。对于这两个问题的回答,将使我们从新的角度来理解艺术与现实这个古老的话题。此外我们还将对在艺术与现实关系中经常遇到的几个难题进行解读。例如艺术品的复制带来的艺术的身份和价值定位问题,这个问题我们之所以放在艺术与现实关系中考虑是因为,我们在复制的艺术品中,看到了它与艺术和现实同样模糊的边界和价值问题。【英文摘要】In Ancient Greek, philosopher had found
6、the resemble relation between art and reality, so they define art with imitation theory. Imitation theory is the earliest well known art theory in the Western philosophy. Plato and Aristotle both agreed with that drama is imitation.The music and dance serviced in the drama are also imitation. The co
7、ncept of imitation is changing and developing. Not only in scope but also in shap have been changed. In fact, these changes accelerated the decay of imitation theory. In first chapter we will to analyze these two concepts of imitation and representation. The changes in the scope of imitation is the
8、cognition from mimetism art to all art is imitating. Secondly, the changes in shape is the different understanding of the relation between imitation and natural. Different art styles need different define and understangding for the congcept of representation. The representation comes from imitation
9、has undergone many questioned. This article will analyze the relation between representation and art to prove that it is not feasible for representation to be as the art definition and to be as classification of art.The second chapter will solve the similar problems that the traditional theory of im
10、itation and reappearance has been focused on and trying to solve. Whatever our concern is whether the nature of imitation and representation or the relationship between the art and word, the core of this problem is resemble, slao can be referred to as much alike, In the traditional research, we insi
11、st on that art derived from life and life is the root of art. This is the knowledge about the source of similar. This simple cognition makes our vision is limited so that we cant graspe the performance and significance of similar hold from the overall performance and similar as a whole. This chapter
12、 will solve the problem that it is a coincidence or a necessity for similar to the art. What is the meaning of similar to art, we can also cross-examine that, is it necessary and sufficient for art, will we be able to make similar as definitions and classifications for art. The development of modern
13、 art influenced by the modern art system, so resemble in modern art need more concern. First, photography and other emerging art with the technical means should be more similar to the reality. Do the value of photography and the film by these higher degree of similarity must be higher than painting.
14、 And how to judge the value of these artistic. Second, how should we understand Ready-Mades, pop art, action art which were almost synchronous with life in a resemble view, or can we evaluate the artistic by their level of similarity.This chapter iii we will key our eyes on the relation of the art a
15、nd the reality, and continue to discuss the significance of using imitation and and presentation in art. And through this perspective, we can understand the relationship between art and reality better. First we will talk about the relation of artistic image and ture thing. Secondly, we will concern
16、about for some questions related with art resemble. The significance of fiction for art. Artistic image:why we take pleasure in a world which is half a truth, why this world is so attractive for us. Through answering these two questions, we can understand the relation of art and reality from the new perspective. In addition, we will try to interpret some other questions. For example identity and value orientation of the art works brou
