藝術生態壁龕中的創作者、作品與觀者：淺談貢布里希與藝術社會學之間的關係

Creators, Works and Spectators in the Artistic-Ecological Niche: Issues Related to E. H. Gombrich and the Sociology of Art

10.6258/bcla.2004.60.09

陳美杏(Mei-Hsin Chen)

恩斯特．漢斯．貢布里希 ； 藝術生態壁龕 ； 風格 ； 品味 ； 精通 ； Ernst Hans Gombrich ； artistic-ecological niche ； style ； taste ； mastery

臺大文史哲學報

60期（2004 / 05 / 01）

297 - 338

繁體中文

恩斯特．漢斯．貢布里希（Ernst Hans Gombrich）曾于數篇文章內批評藝術史學家亞諾．豪瑟（Arnold Hauser）的藝術社會進化史之論點，以及哲學家黑格爾（Georg Wilhelm Friedrich Hegel）之「社會決定論」（social determinism）。本文旨在透過貢氏的部分著作之內容來重新檢視前述之觀點，以期有助於把握他對藝術社會學所作的詮釋，以及其相關問題。全文共分為五節。第一節說明全文的主要內容及其主旨。第二節澄釋貢布里希對藝術社會學所持的看法，以及他如何從藝術家的個人內在自由之角度來審視極端的社會歷史決定論。第三節是基於「生態壁龕」（ecological niche）之義蘊來探討風格與品味等問題。第四節探討評斷藝術價值的複雜構成，並強調貢氏的人本詮釋。第五節則重示其軸心思維及為前四節之內容作一簡扼的綜結。貢布里希深知創作者、觀者及其二者的活動場域之間存有互應，進而指明藝術社會學的存在價值，惟他不贊同僅以社會科學之方法來評定作品的價值，因為，如此一來，創作歷程與賞析過程中之人性層面即有陷於減值的危險，同時，亦可能把決定藝術生態之運向的根本因素淹沒於所謂的社會潮流之中。創作牽涉到幾個不同的向度，諸如社會向度、時尚向度、傳統向度、創作者之功夫踐履向度與觀者之體驗向度等，而這些向度均共植於一主軸，那即是情境中人之自由抉擇。

E. H. Gombrich wrote several articles in which he criticized the theory formulated by the art historian Arnold Hauser in ”Social History of Art” and the ”social determinism” of the philosopher G. W. F. Hegel. The main purpose of this paper is to review Gombrich's critique, in order to master the interpretation made by Gombrich about the sociology of art and other related issues. The article consists of five sections. Section I reveals the essential content and purpose of the paper. Section II clarifies the sense in which Gombrich admits the existential significance of the sociology of art, and how he criticizes the radical social-historical determinism from the perspective of the personal constituent freedom of the artist. Section III discusses the concepts of the style and taste from the perspective of the ”ecological niche”. As for the complicated components of the artistic value, they are rethought in Section IV, which emphasis on Gombrich's anthropological approaches to this matter. The last section summarizes the fundamental ideas discussed in the former sections. Gombrich knows well the interaction which exists between the creator and the spectator as well as their corresponding fields. He refuses to deploy the sociological method as the only instrument to judge the value of artistic works. For he thinks that, in such a way, the human dimension of creation and contemplation may be forgotten, and the decisive factor in the direction of the artistic ecology may be obliterated by the tide of fashion. The various dimensions involved in the artistic creation-such as social orientation, fashion orientation, tradition orientation, the creator's praxis orientation and the spectator's experience orientation-are believed by Gombrich to be rooted in the one and same axis, which is the free choice of individuals in specific situations.

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