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Title論台灣前衛藝術的美學——從康德觀點出發
Taiwanese Avant-garde art from a Kantian point of view: A transition to the aesthetics of the sublime
Creator艾坦丁
Azarov, Konstantin V.
Contributor張國賢<br>文哲
Chang, Kuo-Hsien<br>Wenzel, Christian H.
艾坦丁
Azarov, Konstantin V.
Key Words康德
利奧塔
康德的美學
台灣前衛藝術
李元佳
劉國松
台灣原住民藝術
地方色彩
康丁斯基
馬列維奇
台灣藝術
原住民藝術
美學
中國美學
台灣藝術
比較美學
前衛藝術
崇高
Kant
Kantian aesthetics
Avant-garde art
Taiwanese Avant-garde art
Li Yuanjia
Liu Guosong
Kandinsky
Taiwanese indigenous art
Indigenous art
Chinese Aesthetics
Comparative aesthetics
Aesthetics
Lyotard
Malevich
Sublime
Local color
Date2019
Date Issued7-Aug-2019 16:25:16 (UTC+8)
Summary藝術學曾經相信藝術圍繞美的觀念。可是前衛藝術以後這個觀念很明顯已經有所改變了。利奧塔建議以「崇高」替代「美」。這樣的替代是康德美學偉大的好處,可是藝術怎麼圍繞「崇高」的觀念? 「崇高」是一個為了西方藝術設計的觀念,「崇高」的基礎是西方哲學。此外,現代的藝術世界面臨全球挑戰。
在這篇論文裡,我把過渡到崇高的美學認為是台灣前衛藝術的模型,而台灣前衛藝術的時期是在六○年代。在論文的序言裡,介紹了這個模型的三大重點:前衛藝術是什麼、康德崇高的理論是什麼、利奧塔跟別的研究者怎麼用崇高的理論來了解前衛藝術。論文第二章討論台灣前衛藝術的歷史背景。它簡短說明六○年代以前台灣的藝術世界是怎麼樣。論文第三章談到示範模型與模型在台灣怎麼運作。第四章討論怎麼崇高美學的模型不復存在了。
崇高怎麼在前衛藝術裡運作?按照康德的說法,崇高的重要特色是理性的能力在感性不堪重負的時候仍然能認知客體。給我們崇高的感覺的客體是從我們的感性來認為其太大或者太有力。太大的客體給我們感覺叫「數學崇高」(mathematische Erhabene)。根據康德的看法,這是為什麼埃及金字塔引起興趣的理由。馬列維奇的《黑方塊》(1915)是為了這個理性能力完善的實驗對象。因為畫是一扇窗可以讓觀者靜觀畫裡的世界,《黑方塊》的觀者靜觀黑暗的宇宙。這就是為什麼《黑方塊》會讓敏感的觀者引起崇高的感覺的理由。對敏感的觀者來說《黑方塊》是一個巨大的深淵。
在台灣前衛藝術裡馬列維奇的方塊找到很有趣的對照:李元佳的點。馬列維奇與李元佳用他們的主題抽象主義形式,方塊與點,用來指出絕對。《黑方塊》第一次展覽的時候馬列維奇把《黑方塊》放在所謂的「紅角」(«красный угол»)。「紅角」是俄國人在家中放置聖像的神聖地方。李元佳用道教象徵主義創立了他的點。因此,一些批評者叫它「宇宙點」。點的大小,按照幾何學,是任意性的。歐幾里德對點的定義:「是沒有部分的實體。」方塊的固定性與點的難以捉摸的差別,就好像東西方不同的思考模式。西方東方想法的不同,就是西方哲學研究的重點在於宇宙的永恆不變,而東方哲學著重變化無常的道。我的論文的目的就是說明為什麼在李元佳的點與馬列維的方塊中間有這樣的相似與差異。
Art studies used to believe that art is centered around the idea of the beautiful, but since the time of the Avant-garde this has changed. Lyotard`s theory suggests an alternative: the sublime. It is a great advantage of Kantian aesthetics that it can suggest such an alternative center. How well this new center functions is a different question. It was tailored for Western art on the basis of Western thought, but contemporary art faces global challenges of non-western aesthetic values.
This thesis uses a transition to the aesthetics of the sublime as a model for the Avant-garde art of Taiwan. In the introduction to the thesis an exposition of the elements of this model is given: what is Avant-garde art, what is Kant`s theory of the sublime and how is Kant`s theory applied to Avant-garde art according to Lyotard and others. The first chapter presents the background of the sublime aesthetics in Taiwan. A brief exposition of the Taiwanese art world before the 60s is given. The second chapter demonstrates the model and how it works on the material of Taiwanese Avant-garde of the 60s. The end of the aesthetics of the sublime is presented in the last chapter.
How is the sublime aesthetics operating in Avant-garde art? One of the important moments of sublimity for Kant is the mind`s ability to grasp the object conceptually while being overwhelmed by it regarding the limits of the senses. The object felt to be sublime is too big or too forceful. For Kant, this is why the pyramids of Egypt are so fascinating for human beings. This feeling is called the mathematically sublime. In the Black Square (1915) by Malevich this ability of the mind can find an ideal object for practice: the viewer is exposed to an endless space of blackness from one side of the frame to another. Traditionally, the painting is a window to a particular world. The Black Square is like a window to the universe of darkness. That is the reason why the Black Square can produce a sublime feeling in a sensitive viewer. For such a viewer the Black Square looks like a tremendous abyss.
In Taiwanese Avant-garde art Malevich`s square finds an interesting equivalent in Li Yuan-Jia`s (李元佳) point. Li Yuan-Jia was interested in this graphical element, which at the same time is a concept in mathematics. Both Malevich and Li Yuan-Jia used their signature forms of abstract art, a square and a point, to refer to the absolute. During its first exhibition, Malevich puts the Black Square in a sacred place of the traditional Russian house – in a red corner, where house icons are supposed to be. Li Yuan-Jia builds on Daoist symbolism to ground his own `Cosmic Point`, as critics call it. The stability of the Black Square, the way it is filled with color from border to border contrasts with the elusiveness of the point, for which, as geometry supposes, real size stands for no size at all. A point, to quote Euclide, “is that which has no part.” The contrast between the square and the point finds itself in parallel with the fundamental distinction of Western and Chinese styles of thinking: the world as something permanent or as endless change. The thesis illuminates the reasons which lead to the differences and the similarities of Li`s point and Malevich`s square.
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Description博士
國立政治大學
哲學系
1011545061
資料來源 http://thesis.lib.nccu.edu.tw/record/#G1011545061
Typethesis
dc.contributor.advisor 張國賢<br>文哲zh_TW
dc.contributor.advisor Chang, Kuo-Hsien<br>Wenzel, Christian H.en_US
dc.contributor.author (Authors) 艾坦丁zh_TW
dc.contributor.author (Authors) Azarov, Konstantin V.en_US
dc.creator (作者) 艾坦丁zh_TW
dc.creator (作者) Azarov, Konstantin V.en_US
dc.date (日期) 2019en_US
dc.date.accessioned 7-Aug-2019 16:25:16 (UTC+8)-
dc.date.available 7-Aug-2019 16:25:16 (UTC+8)-
dc.date.issued (上傳時間) 7-Aug-2019 16:25:16 (UTC+8)-
dc.identifier (Other Identifiers) G1011545061en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/124819-
dc.description (描述) 博士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 哲學系zh_TW
dc.description (描述) 1011545061zh_TW
dc.description.abstract (摘要) 藝術學曾經相信藝術圍繞美的觀念。可是前衛藝術以後這個觀念很明顯已經有所改變了。利奧塔建議以「崇高」替代「美」。這樣的替代是康德美學偉大的好處,可是藝術怎麼圍繞「崇高」的觀念? 「崇高」是一個為了西方藝術設計的觀念,「崇高」的基礎是西方哲學。此外,現代的藝術世界面臨全球挑戰。
在這篇論文裡,我把過渡到崇高的美學認為是台灣前衛藝術的模型,而台灣前衛藝術的時期是在六○年代。在論文的序言裡,介紹了這個模型的三大重點:前衛藝術是什麼、康德崇高的理論是什麼、利奧塔跟別的研究者怎麼用崇高的理論來了解前衛藝術。論文第二章討論台灣前衛藝術的歷史背景。它簡短說明六○年代以前台灣的藝術世界是怎麼樣。論文第三章談到示範模型與模型在台灣怎麼運作。第四章討論怎麼崇高美學的模型不復存在了。
崇高怎麼在前衛藝術裡運作?按照康德的說法,崇高的重要特色是理性的能力在感性不堪重負的時候仍然能認知客體。給我們崇高的感覺的客體是從我們的感性來認為其太大或者太有力。太大的客體給我們感覺叫「數學崇高」(mathematische Erhabene)。根據康德的看法,這是為什麼埃及金字塔引起興趣的理由。馬列維奇的《黑方塊》(1915)是為了這個理性能力完善的實驗對象。因為畫是一扇窗可以讓觀者靜觀畫裡的世界,《黑方塊》的觀者靜觀黑暗的宇宙。這就是為什麼《黑方塊》會讓敏感的觀者引起崇高的感覺的理由。對敏感的觀者來說《黑方塊》是一個巨大的深淵。
在台灣前衛藝術裡馬列維奇的方塊找到很有趣的對照:李元佳的點。馬列維奇與李元佳用他們的主題抽象主義形式,方塊與點,用來指出絕對。《黑方塊》第一次展覽的時候馬列維奇把《黑方塊》放在所謂的「紅角」(«красный угол»)。「紅角」是俄國人在家中放置聖像的神聖地方。李元佳用道教象徵主義創立了他的點。因此,一些批評者叫它「宇宙點」。點的大小,按照幾何學,是任意性的。歐幾里德對點的定義:「是沒有部分的實體。」方塊的固定性與點的難以捉摸的差別,就好像東西方不同的思考模式。西方東方想法的不同,就是西方哲學研究的重點在於宇宙的永恆不變,而東方哲學著重變化無常的道。我的論文的目的就是說明為什麼在李元佳的點與馬列維的方塊中間有這樣的相似與差異。
zh_TW
dc.description.abstract (摘要) Art studies used to believe that art is centered around the idea of the beautiful, but since the time of the Avant-garde this has changed. Lyotard`s theory suggests an alternative: the sublime. It is a great advantage of Kantian aesthetics that it can suggest such an alternative center. How well this new center functions is a different question. It was tailored for Western art on the basis of Western thought, but contemporary art faces global challenges of non-western aesthetic values.
This thesis uses a transition to the aesthetics of the sublime as a model for the Avant-garde art of Taiwan. In the introduction to the thesis an exposition of the elements of this model is given: what is Avant-garde art, what is Kant`s theory of the sublime and how is Kant`s theory applied to Avant-garde art according to Lyotard and others. The first chapter presents the background of the sublime aesthetics in Taiwan. A brief exposition of the Taiwanese art world before the 60s is given. The second chapter demonstrates the model and how it works on the material of Taiwanese Avant-garde of the 60s. The end of the aesthetics of the sublime is presented in the last chapter.
How is the sublime aesthetics operating in Avant-garde art? One of the important moments of sublimity for Kant is the mind`s ability to grasp the object conceptually while being overwhelmed by it regarding the limits of the senses. The object felt to be sublime is too big or too forceful. For Kant, this is why the pyramids of Egypt are so fascinating for human beings. This feeling is called the mathematically sublime. In the Black Square (1915) by Malevich this ability of the mind can find an ideal object for practice: the viewer is exposed to an endless space of blackness from one side of the frame to another. Traditionally, the painting is a window to a particular world. The Black Square is like a window to the universe of darkness. That is the reason why the Black Square can produce a sublime feeling in a sensitive viewer. For such a viewer the Black Square looks like a tremendous abyss.
In Taiwanese Avant-garde art Malevich`s square finds an interesting equivalent in Li Yuan-Jia`s (李元佳) point. Li Yuan-Jia was interested in this graphical element, which at the same time is a concept in mathematics. Both Malevich and Li Yuan-Jia used their signature forms of abstract art, a square and a point, to refer to the absolute. During its first exhibition, Malevich puts the Black Square in a sacred place of the traditional Russian house – in a red corner, where house icons are supposed to be. Li Yuan-Jia builds on Daoist symbolism to ground his own `Cosmic Point`, as critics call it. The stability of the Black Square, the way it is filled with color from border to border contrasts with the elusiveness of the point, for which, as geometry supposes, real size stands for no size at all. A point, to quote Euclide, “is that which has no part.” The contrast between the square and the point finds itself in parallel with the fundamental distinction of Western and Chinese styles of thinking: the world as something permanent or as endless change. The thesis illuminates the reasons which lead to the differences and the similarities of Li`s point and Malevich`s square.
en_US
dc.description.tableofcontents English Abstract 4
中英文摘要(Chinese Abstract) 6
1 Introduction 9
1.1 What is Avant-garde art? 12
1.2 Kant`s theory of the sublime 21
1.3 The sublime and Avant-garde art: A reading with Lyotard 27
1.4 Literature overview 38
2 Transition`s point of departure 42
2.1 Chinese aesthetics 42
2.1.1 Aesthetics West and East 42
2.1.2 The origins of Chinese aesthetics 50
2.1.3 Chinese Aesthetics in the Analects 61
2.1.3.1 Beauty (mei美) in the Analects 63
2.1.3.2 Yue樂 music/beauty in the Analects 68
2.1.3.3 Harmony (he和) 70
2.2 Aesthetics in Kant and Confucius 75
2.3 The role of Daoism and Buddhism in Taiwanese Avant-garde art 80
2.4 Local color in Taiwanese art 89
2.4.1 Problem of `local color` 89
2.4.2 Local color and Taiwan 103
2.4.3 Kantian approach to Taiwanese local color 110
3 The working model: The sublime aesthetics in the Taiwanese Avant-garde art 117
3.1 Local reception of the sublime aesthetics 121
3.2 Sublime simplicity and Avant-garde art in Taiwan 123
3.2.1 Taiwan`s Austronesian connotations and the transition to the aesthetics of the sublime 131
3.2.2 Folk culture and sublimity in Taiwan and in European Avant-garde art 143
3.2.3 Bi discs and Taiwanese abstract painting 158
3.2.4 Shamanism and Taiwanese Avant-garde art 165
3.3 The sublime in pure abstract art of Taiwanese Avant-garde 188
3.3.1 The pain, abstract art and the sublime 193
3.3.2 Kantian demands for fine art and abstract art 198
3.3.3 The sublimity of Taiwanese abstract art from a cross-cultural perspective 201
3.3.4 Nature as the sublime in Taiwanese skeuomorphic abstract art 210
3.3.5 Taiwanese and Western icons of abstract art 214
4 The model does not seem to work anymore: The end of Avant-garde art in Taiwan 221
4.1 The end of Avant-garde art 221
4.2 The New Beauty 230
4.3 The adherent beauty in site-specific art 238
4.4 Towards a new Taiwanese art of the beautiful 244
5 Conclusion 250
5.1 Towards the 3rd theory of Avant-garde art 250
5.2 Taiwanese aesthetics of the sublime 255
Illustrations 262
Literature 278
zh_TW
dc.format.extent 7138062 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G1011545061en_US
dc.subject (關鍵詞) 康德zh_TW
dc.subject (關鍵詞) 利奧塔zh_TW
dc.subject (關鍵詞) 康德的美學zh_TW
dc.subject (關鍵詞) 台灣前衛藝術zh_TW
dc.subject (關鍵詞) 李元佳zh_TW
dc.subject (關鍵詞) 劉國松zh_TW
dc.subject (關鍵詞) 台灣原住民藝術zh_TW
dc.subject (關鍵詞) 地方色彩zh_TW
dc.subject (關鍵詞) 康丁斯基zh_TW
dc.subject (關鍵詞) 馬列維奇zh_TW
dc.subject (關鍵詞) 台灣藝術zh_TW
dc.subject (關鍵詞) 原住民藝術zh_TW
dc.subject (關鍵詞) 美學zh_TW
dc.subject (關鍵詞) 中國美學zh_TW
dc.subject (關鍵詞) 台灣藝術zh_TW
dc.subject (關鍵詞) 比較美學zh_TW
dc.subject (關鍵詞) 前衛藝術zh_TW
dc.subject (關鍵詞) 崇高zh_TW
dc.subject (關鍵詞) Kanten_US
dc.subject (關鍵詞) Kantian aestheticsen_US
dc.subject (關鍵詞) Avant-garde arten_US
dc.subject (關鍵詞) Taiwanese Avant-garde arten_US
dc.subject (關鍵詞) Li Yuanjiaen_US
dc.subject (關鍵詞) Liu Guosongen_US
dc.subject (關鍵詞) Kandinskyen_US
dc.subject (關鍵詞) Taiwanese indigenous arten_US
dc.subject (關鍵詞) Indigenous arten_US
dc.subject (關鍵詞) Chinese Aestheticsen_US
dc.subject (關鍵詞) Comparative aestheticsen_US
dc.subject (關鍵詞) Aestheticsen_US
dc.subject (關鍵詞) Lyotarden_US
dc.subject (關鍵詞) Malevichen_US
dc.subject (關鍵詞) Sublimeen_US
dc.subject (關鍵詞) Local coloren_US
dc.title (題名) 論台灣前衛藝術的美學——從康德觀點出發zh_TW
dc.title (題名) Taiwanese Avant-garde art from a Kantian point of view: A transition to the aesthetics of the sublimeen_US
dc.type (資料類型) thesisen_US
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dc.identifier.doi (DOI) 10.6814/NCCU201900191en_US