美術館藝術品的解說理論與應用初探

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题名:	美術館藝術品的解說理論與應用初探
其它题名:	Research on the Interpretation Theories and Application of Art Works in an Art Museum
作者:	陳秋菊 Chen, Chiu-chu
貢獻者:	美學與藝術管理研究所陳國寧 Kuo-Ning Chen
关键词:	美術館導覽;藝術觀點;藝術品解說 Gallery tour guide;Art works interpretation;Art Perspectives
日期:	2003
上传时间:	2015-06-02 10:28:12 (UTC+8)
摘要:	本研究旨在結合藝術品解說的實務經驗，藉由相關學域對藝術品特質不同學說觀點的辨證，探討藝術品解說理論的應用，循序釐清學術理論的侷限性，排除知識理論中可能潛存的偏執，審慎確認研究中學說理論的適應性，繼而以理論分析與歸納作成結論。　　　首先由美術館的創館編制，強調美術館教育的主體性立場，藉由凸顯美術館教育目標的營運特質，探討藝術品解說教育與溝通的功能。又基於深化藝術品詮釋的理論，探究藝術品深層的意蘊價值，乃由多元交錯的學術領域，分別以藝術史、藝術批評、美學、藝術社會學與藝術心理學等範疇，探討其中與藝術品特質掌握相關的藝術觀點，結合導覽解說的實務經驗，釐清各學域理論於藝術品解說的應用與侷限，深究各學說理論對藝術品詮釋的可能制約。研究目的在於拓展藝術品詮釋理論應用的範疇，深入檢視、論證相關學域中的藝術觀點，為詮釋藝術品的理論內涵提供另向思維。　　　再者，透過美術館觀眾藝術欣賞的心理與審美能力的階段性發展，探究因應觀賞者審美能力的藝術品解說策略，達成藝術品解說教育與溝通的功能。　1.「第三章藝術史理論於解說之應用」鑒於傳統藝術品解說應用藝術史的解釋﹔無法適用於現代前衛的多元化藝術創作的解釋，本研究在就藝術史論畫之餘，藉由解析藝術品在歷史的流衍與藝術理念的激盪下，其多義複雜性與深刻，探討在各式各樣的史觀下，導覽解說如何貫穿傳統、現代與當代的藝術史觀。2.「第四章導覽解說與藝術批評理論之應用」本研究藝術批評涵蓋兩個面向：一則由藝術作品出發﹔藉由對藝術品描述、分析、解釋等步驟掌握藝術品的特性。再則由觀賞者的角度出發﹔經由審美的立場、探討藝術品被接受與否的問題，進而以主客觀兼具評價藝術品。　　　另一方面，就藝術品解說意義解釋與價值評論兩大面向，探討影響藝術創作的政治、社會機制等，兼及藝術品內蘊價值的詮釋，藉以提供作為價值判斷的依據。3.「第五章藝術品解說與美學理論之應用」援引美學範疇中的審美型態學與審美心理學兩大領域。依據審美型態研究藝術作品的形式﹔探討藝術品形式在主體經驗中的作用和功能，藉以深究藝術品的價值，偏重於審美的客觀層面。再者，依據審美心理學的研究探討有關藝術創作和藝術欣賞的心理狀態，偏重於審美的主觀層面。繼而探討介於主客觀之間的審美價值。為藝術品解說建立辯證性的思索，提供導覽解說在哲學的深度上把握作品的特質與審美現象的特殊意蘊。　　　另一方面，以理論辨證的形式，探討傳統美學中的藝術觀點於藝術品解說的價值與侷限性。再者，透過解明美學偏重於審美價值的判斷，無法全面回應藝術品解說的理論需要，避免美學模糊的一統有關觀眾的審美困境。4.「第六章藝術品解說與其他相關理論之應用」˙「藝術社會學理論與解說之應用」有關藝術品的社會學觀點，著眼於藝術品外延意義的探討，藉由社會意識與社會制約的論點，剖析藝術風潮與作品風格的環境因素。此外，依據社會學的反面性觀點探討以社會意識理解藝術品、解讀藝術創作的可能缺失。依序由為藝術而藝術的創作立場與學說理論，解析當作品被視為封閉系統時，論證依據社會學觀點詮釋作品的侷限性。˙「導覽解說與藝術心理學的應用」有關藝術創作與欣賞的心理層面，首先，以弗洛依德潛意識心理闡述藝術創作的動因與審美觀，揭示其學說理論對藝術品解說的應用價值。再則，藉由原欲昇華說爭議的論點，解析其學說理論應用於藝術品解說的侷限。　　　另一方面，以席勒、容格、沃林格等藝術的論點，闡明人格特質與藝術創作的類型關係，解析藝術家創作心理、意向與動機。再者，援引安海姆(Rudolf Arnhein)視覺心理學的理論，強調形式的結構與認知的作用，剖析審美視知覺的「完形」傾向，以及觀賞者主動參與創造的歷程。　　　延續上述諸多藝術品解說的論點，依據觀賞者審美體驗的鑑賞解析，探討觀賞者審美能力的階段性發展與因應的原則，增進導覽解說溝通的效益，達成美術館藝術品解說教育與溝通的功能。　　　The gist of this research was to combine the practical experiences of art works interpretation, to discuss the application of art works interpretative theories by means of the dialectic of different doctrines’ perspectives in the relative academic realms toward the art works’ substance, to clarify the limitations of academic theories in proper sequence, to exclude the possible potential bigotry in the knowledge theories, to confirm the adaptability of theories in the research cautiously, and to make theoretical analyses and induction further to be the conclusion. 　　　In the first place, I emphasized the principal standpoint of education from an art museum’s foundation organization, and researched art works interpretation’s functions on education and communication by revealing an art museum’s operational property with the goal of education. By going deep into the theories of art works interpretation, I explored art works’ meanings and value in deep layer; from the diversified and crisscross academic fields, I probed into the substance of art works in the boundaries of art history, art criticism, aesthetics, art sociology, and art psychology respectively, grasped the relevant artistic perspectives, combined the experiences of gallery tour guide and interpretation in practice, expounded the application and limitations on arts work interpretation of the theory in each academic sphere, and got to the bottom of each theory and each doctrine’s possible restrictions on arts work interpretation. The objectives of the research consist in expanding the application categories of art works interpretation theories, deeply inspecting and demonstrating the artistic perspectives in relative academic scopes, and providing the thought of another direction for the theoretical connotation of interpreting art works. 　　　　Moreover, through the art museum spectators’ psychology of art appreciation and the stage-by-stage development of aesthetic appreciation abilities, I investigated the strategies of art works interpretation in response to the spectators’ aesthetic appreciation capacities in order to achieve art works interpretation’s functions on education and communication.　 1. The 3rd Chapter: “The Application of the Art History Theory on Interpretation”In view of the explanations of traditional art works interpretation applying to the art history are inapplicable for the modern and avant-garde explanations of the diversified artistic creations, the research analyzed the complexity of multitudinous meanings and the profundity of art works under the evolvement of history and the agitation of the artistic rational concepts while making comments on the paintings, and discussed in which way the gallery tour guide and interpretation can penetrate through and connect the traditional, the modern, and the contemporary artistic outlooks of history with so many historical outlooks.　 2. “The 4th Chapter: The Application of the Art Criticism Theory on Gallery Tour Guide and Interpretation”The art criticism of the research covered two aspects: First, starting from art works to clutch art works’ features with the steps of description, analyses, interpretation, and judgment, etc.. Second, beginning from the angle of a spectator to explore the acceptability of art works through the criteria of aesthetic appreciation, and giving consideration to both subjective and objective ideas to appraise art works. On the other hand, I probed into the political and social mechanisms that affect the artistic creation and the interpretation of the inner value of art works from two major aspects of art works interpretation and evaluative criticism to be the bases of value judgment. 　3. “The 5th Chapter: The Application of the Aesthetics Theory on Art Works Interpretation”This part was quoted from the two dominant fields of aesthetic appreciation morphology and aesthetic appreciation psychology in the aesthetic boundaries. I studied the styles of art works in accordance with the aesthetic appreciation morphology, and researched the artwork styles’ effects and functions in the chief experiences to explore the art works’ value deeply, which laid particular stress on the objective aspect of aesthetic appreciation. What was more, to probe into the psychological conditions regarding artistic creation and art appreciation in the light of the aesthetic appreciation psychology, which laid particular stress on the subjective aspect of aesthetic appreciation. Next, to make a thorough inquiry about the aesthetic appreciation value between the subjectivity and the objectivity, to establish dialectical thought for art works interpretation, and to enable the gallery tour guide and interpretation to seize the works’ features and the special meanings of aesthetic appreciation phenomena on philosophic profundity. On the other hand, I tried to discuss the value and limitations of the artistic perspectives in the traditional aesthetics with the theoretical dialectic. Most of the traditional aesthetic theories give undue emphasis to the judgment of aesthetic appreciation value (such as being beautiful and pleasant to the eyes). However, this ideology can not fully respond to and satisfy the theoretical demands of art works interpretation, for not all of the aesthetic theories hold the same standpoint, especially the modern art and the contemporary art. Through analyzing and clarifying it, we can avoid the spectators’ bewilderment and dilemma on aesthetic appreciation. 4. “The 6th Chapter: The Application of Other Relevant Theories on Art Works Interpretation”　˙The Application of the Art Sociology Theory on InterpretationAbout the sociological perspective of art works, I focused on the discussions of extensive meanings of art works, and dissected the environmental factors of artistic fashions and artwork styles by means of the contentions of social consciousness and social restrictions. Besides, to explore the possible defects of comprehending art works and decoding art creation with social consciousness by the negative viewpoints of sociology. From the position of creation, the doctrine, and the theory of doing art for art, I analyzed and demonstrate the limitations of interpreting art works with the sociological perspective while a work of art is deemed to be of the closed system. 　˙The Application of the Art Psychology Theory on Gallery Tour Guide and InterpretationAbout the psychological aspect of art creation and appreciation, first of all, I elaborated the motives of art creation and the perspectives of aesthetic appreciation with Sigmund Freud’s theory of subconscious psychology, and disclosed his theories and doctrine’s applied value on art works interpretation. Furthermore, by the controversial contention of the theory of original desire sublimation, I analyzed the limitations of his theories and doctrine applying on art works interpretation.　　　Also, I defined the relationship between the feature of personality and the category of art creation with the arguments of Freidrich Schiler, Carl Gustav Jung, and Whilhelm Worringer on art, and analyzed artists’ psychology, intentions, and motives of creation. Then I quoted Rudolf Arnhein’s theory of visual perception psychology, stressed the structure of form and the effect of cognition, and dissected the inclination of Gestalt on visual perception of esthetic appreciation, and the course that the spectators participate in the creation initiatively. 　　　　To continue the above-mentioned various contentions about art works interpretation, I discussed spectators’ stage-by-stage development of aesthetic appreciation abilities and the principles of response according to the appreciation analyses of the spectators’ experiences of aesthetic appreciation, so as to increase gallery tour guide and interpretation’s profit on communication, and achieve art works interpretation’s functions on education and communication in an art museum.
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