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| 題 名 | 原始藝術暨其生成方式探討=Primitive Art and Its Becoming Process |
|---|---|
| 作 者 | 朱文海; | 書刊名 | 建國科大社會人文期刊 |
| 卷 期 | 34:1 2015.01[民104.01] |
| 頁 次 | 頁51-68 |
| 分類號 | 903 |
| 關鍵詞 | 原始藝術; 萬有靈論; 想像遊戲; 藝術的社會性; 集體意識; Primitive art; Animism; Imaginative game; Sociality of art; Collective consciousness; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 原始藝術和現代藝術有著不同的生成原因,它既不是現代美學強調從主體的自由作為開端,也不是出自於一種以作品生產為主的目的論。因此它的意義軸心始終不會是某種抽象的藝術性或是主體對於某一種美感的意識性表達。所以與其說是藝術表達,倒不如說他們是以對應陌生恐懼的外在世界,而產生了萬物有靈的想像性遊戲。只是,這種想象性從來就不是建立在那種閒暇放鬆的遊戲,而是立基於非審美動機的現實緊迫性當中。從這樣的基礎上,我們發現了藝術對於原始民族來說並不是個人性,卻反而是社會性的,並且當中的審美也是和集體意識有關。以至於本文終究選擇了遊戲作為藝術的起源說的內在精神,去貫穿、詮解原始藝術的性質以及生成方式。 |
| 英文摘要 | Primitive art has different becoming process from modern art, and its aesthetic idea does not emphasize agent-freedom as the starting point as modern Aesthetics does, or aiming for art production from Teleology. Therefore, the meaning axis of primitive art is not abstract artistry, or aesthetic perception from agent and his expressions. So instead of some consciously artistic expression, primitive people manages to fit unfamiliar and scared surroundings, and then through imaginative games they form Animism and primitive art. This kind of imagination is not based on relaxing games, but on non-aesthetic aims from urgent survival pressure. It shows us that primitive art is not individual, but collective, and even aesthetic activities are related to collective consciousness. And this article will take game as the inherent spirit of the origin of art, and we will demonstrate the nature of original art and original art's becoming process. |
本系統中英文摘要資訊取自各篇刊載內容。