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Kandinsky's theory of art: Hegel, the beginnings of abstraction, and art history.

机译：康定斯基的艺术理论：黑格尔，抽象的开端和艺术史。

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摘要

This dissertation contextualizes three main components of Wassily Kandinsky's aesthetic theory within a history of ideas stretching from Kant to Worringer. The goal of this project is to ground Kandinsky's explanations and justifications for the turn to abstraction and the non-objective in modern art in a deeply Idealist philosophical tradition. The three ideas traceable to a predominantly Hegelian context, and upon which this study concentrates, are as follows: form and content, the concept of "inner necessity" (inner Notwendigkeit), and the notion of a "Third" spiritual-historical era.;Kandinsky's repeated arguments about the relationship between form and content in art can be understood most dearly when the origins of this "problem" in modern aesthetics are followed back to Kant and Hegel. The concept of "inner necessity," all but unexplored by scholars, is immediately to be connected with the Kunstwollen of Riegl and Worringer, and both of these difficult terms are argued in this study to have emerged out of the older Idealist and historicist views on freedom and necessity. Lastly, the idea of a "Third Era" in history, which Kandinsky refers to as the "Epoch of the Great Spiritual," may have its most distant origins in the medieval mystic Joachim of Fiore. Its importance for Kandinsky's aesthetics, however, is its relation to the last of Hegel's three stages of art's history: the "Romantic" period, when the visual and sensual cease to suffice as forms of aesthetic communication. For Kandinsky, modernist abstraction arises and develops similarly in a third, spiritual era as "inner necessity" forces inner content beyond the limits of traditional, external form.;Though the three aesthetic elements are treated individually in this study, the point of the dissertation as a whole is to illustrate their roles as part of an overall aesthetic theory that is unified and coherent. Kandinsky's "epochal" move towards the non-objective world of form and color can, as a result, be understood not only in relation to the influence of Theosophy or the occult, but as part of a natural development in a modernist project thoroughly rooted in nineteenth-century Idealist philosophy and aesthetics.
机译：本文从康德到沃林格的思想史中，将瓦西里·康定斯基美学理论的三个主要组成部分进行了语境化。该项目的目标是在深刻的唯心主义哲学传统基础上，为康定斯基对现代艺术转向抽象和非客观的解释和辩解奠定基础。可以追溯到主要是黑格尔主义语境的三个思想，是本研究所关注的三个思想，分别是：形式和内容，“内在必要性”的概念（内在Notwendigkeit）以及“第三次”精神历史时代的概念。 ;当现代美学中的“问题”的起源追溯到康德和黑格尔之后，就可以最深刻地理解康定斯基关于艺术中形式与内容之间关系的反复论证。几乎没有被学者探讨的“内在必要性”概念立即与里格和沃林格的艺术史联系起来，并且在本研究中，这两个困难的术语都被认为是从较早的唯心主义和历史主义观点中产生的。自由和必要性。最后，历史上“第三时代”的概念（康定斯基将其称为“大精神时代”）可能起源于中世纪的神秘主义者菲奥雷·约阿希姆。然而，它对康定斯基美学的重要性在于它与黑格尔艺术史三个阶段的最后阶段的关系：“浪漫”时期，即视觉和感官不再足以作为审美交流的形式。对于康定斯基来说，现代主义的抽象在第三种精神时代产生并发展，因为“内在必要性”迫使内部内容超出了传统的外部形式的限制。；尽管本研究将三种美学元素分别加以处理，但本文的重点是整体上是要说明它们在整体美学理论中是统一且连贯的一部分的作用。结果，康定斯基的“时代”走向形式和色彩的非客观世界，不仅可以理解为神学或神秘学的影响，而且可以理解为根深蒂固于现代主义项目中自然发展的一部分十九世纪的唯心主义哲学和美学。

著录项

  • 作者

    Caslin, Jeremy Elie.;

  • 作者单位

    University of Virginia.;

  • 授予单位 University of Virginia.;
  • 学科 Art history.;Philosophy.;History.
  • 学位 Ph.D.
  • 年度 1998
  • 页码 328 p.
  • 总页数 328
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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