| 题名 |
從多瑪斯美學中的“明晰”探討繪畫中的光線與色彩 |
| 并列篇名 |
From Clarity to Light and Color in Painting: A Thomistic Approach |
| DOI |
10.7065/MRPC.200805.0123 |
| 作者 |
何佳瑞(Katia Lenehan) |
| 关键词 |
多瑪斯 ； 美學 ； 明晰 ； 光 ； 光輝 ； 可理解性 ； 可溝通性 ； Thomas Aquinas ； Aesthetics ； Light ； Splendor ； Resplendence ； Intelligibility ； communicability |
| 期刊名称 |
哲學與文化 |
| 卷期/出版年月 |
35卷5期（2008 / 05 / 01） |
| 页次 |
123 - 145 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
「明晰」作為美的的形式三要素之一，與「整一」和「比例」並列，在多瑪斯美學中佔有相當重要的地位。「明晰」亦是這三個要素中唯一與「光」和「色彩」相關的要素，而「光」和「色彩」正是西洋繪畫中的重要呈現方式。本篇論文即在於針對於多瑪斯的「明晰」概念做一詳盡的整理與耙梳，並對照西洋繪畫的發展歷程，讓作為美學概念的「明晰」與實際的藝術創作領域進行對話。 多瑪斯關於「明晰」意涵所做的論述，可以分別從「明晰」的物理意義和明晰的形上意義兩個角度來說明。在「明晰」的物理意義方面，多瑪斯明白地說道：「在被稱之為美的事物的地方就有明亮的色彩。」(Summa Theologica, Ⅰ, 39, 8c.)這種關於「明晰」意涵的最表面意義，是與中世紀人的整個文化品味相關的。當時興盛的宗教繪畫事實上也是對這一物理意涵的具體表現，中世紀的藝術家們擅用原色和純色的鮮明色彩以及清晰穩固的線條來購置他們的畫面，營造出一種光明輝麗的效果。 然而，從文藝復興以後的作品觀之，這種對於「光」和「色彩」物理性解釋就逐漸不敷使用了。我們必須回到「明晰」的形上意涵，才能說明文藝復興以後的這種轉變。在「明晰」的形上意涵方面，多瑪斯美學首先表明了「明晰」所蘊含的一種「可理解性」，這種「可理解性」就是「一種形式的基礎可溝通性，它是在與某人對一物的看與見相關的時候才成為現實的。那屬於每一個形式的合理性就是『光』，一種向審美主體展示其自身的『光』。」(Umberto Eco, The Aesthetics of Thomas Aquinas)於是「明晰」就這樣架起了審美主體與審美客體之間的橋樑，而這一關於「明晰」的形上意義也同時開啟了一種不被特定時空的文化框架所限定的美的意義（如明晰的物理那般），使「明晰」如同作品自身的光，它意指自身，表明自身，即便這種表達有時呈現在畫面上是朦朧的、幽暗的，又或者晦澀的，但它仍然得以在一個「會意的眼」中，展現出一種屬於作品自身的、真正的光輝。 |
| 英文摘要 |
'Clarity' as one of the formal conditions of beauty, alone with 'integrity' and 'proportion,' plays an important role in the aesthetics of Thomas Aquinas. It is also the only element from the three conditions that is concerned with 'light' and 'color'-the key to western painting. This essay attempts to investigate and dig into the meaning of 'clarity', and at the same time create the possibility of a dialectic between this aesthetic concept and works of art, by contrasting it to the development of western painting. The meaning of 'clarity' for Thomas Aquinas can be illustrated in two aspects: the physical and the metaphysical. Regarding the physical aspect, Thomas Aquinas' famous quotation -”…'brightness' or 'clarity,' whence things are called beautiful which have a bright color.” (Summa Theologica, Ⅰ, 39, 8c.)-has shown us the surface meaning of 'clarity'. This kind of depiction of 'clarity' is actually related tightly to the whole of medieval cultural taste. In fact, it can be said that the highly developed religious painting of the time is the concrete realization of this physical meaning: medieval artists were excellent at using bright primary colors and distinct stable outlines to present their work, resulting in the brilliant effect of splendor on the canvas. However, the physical aspect of 'clarity' gradually falls short when explaining painting after the Renaissance. We have to go back to the metaphysical meaning of 'clarity' to interpret those changes. Regarding the metaphysical, the aesthetics of Thomas Aquinas has declared that 'clarity' contains 'intelligibility', meaning that, ”Clarity is the fundamental communicability of form, which is actual in relation to someone's looking at or seeing of the object. The rationality that belongs to every form is the 'light', which manifests itself to aesthetic seeing.” (Umberto Eco, The Aesthetics of Thomas Aquinas) Hence, the concept 'clarity' builds up the bridge between the aesthetic subject and the object, and meanwhile it surpasses a limited definition of beauty in a specific space and time (such as the physical meaning of 'clarity'). Therefore, 'clarity' is as the 'light' of art works themselves, which delight in themselves, express themselves and declare themselves. In this way, we can finally understand why even an 'obscure' or 'dim' presentation in a painting (this kind of expression was rare in the medieval period but often appeared afterwards) can be appreciated under a 'knowing eye', which recognizes a real resplendence belonging to the work itself. |
| 主题分类 |
人文學 >
人文學綜合 |
| 参考文献 |
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