本研究計畫將延續前一年度計畫（再現的技藝：柏拉圖美學中「技藝」概念的轉化）中，對柏 拉圖美學「再現」(mimesis)議題的探討，進一步深入處理柏拉圖如何將藝術理解為造成「錯謬知覺/ 錯覺」(illusion)的認知活動，而發展出對後來西方美學及藝術史解釋上影響深遠的「藝術再現論/模 仿說」。柏拉圖在提出藝術再現論時，不僅將藝術視為具體現實事物的再現，同時也在「再現」概念 中含入「虛假不真」的意涵，甚至直接從再現造成的錯謬知覺導出錯謬的「信念」。相較於前一年度 計畫從比較外圍的、各學科技藝間互相競爭的智識文化環境來探討，本次研究計畫企圖從兩方面加 深研究：一、從柏拉圖本身的知覺理論與知識論來解析他的「再現」概念（以《理想國》、《泰鄂提 得斯》、《詭辯家》、《蒂邁歐》為主要文本）；二、從希臘藝術本身的表現來釐清：將希臘藝術視為再 現/模仿的解釋觀點，究竟具有什麼哲學意涵？（主要以宮布利希《藝術與錯覺》對希臘藝術的解釋 為參照基點）；以此重新審視柏拉圖以藝術為錯覺的論述。 This project will continue the research on Plato’s doctrine of ‘mimesis’ in the previous project, but go further and deeper to see how Plato understands Art as illusion or deceptive perception in his claim that ‘art is mimesis’ which dominantly explains Greek art in the later ages. By the claim ‘art is mimesis,’ Plato does not only regard art as the mimesis (representation or imitation) of particular things in the physical world, but also implies that art is a fraud. Art is not real because it is a mimesis. Furthermore, Art deceives us and corrupts our souls by forming false beliefs. The previous project has been discussing the conception of Plato’s ‘mimesis’ in the intellectual environment where new technai (kinds of professional knowledge) compete with each other fiercely in ancient Athens. This project will attempt to investigate deeper in (1) the epistemological aspect of this aesthetic issue: how ‘mimesis’ stands in Plato’s theory of perception and epistemology (mainly based on the Republic, Theaetetus, Sophist and Timaeus); and (2) its impacts upon the way how we see Greek art (mainly based on a comparison with Ernst Gombrich’s Art and Illusion). In this way, the project will challenge the connection between Art and illusion in Plato.
