【摘要】：在中國近代開端即明代中晚期的文人藝術(shù)家那里,情趣(意趣)藝術(shù)觀達(dá)到了高峰,它繼承了自魏晉以來借藝術(shù)表達(dá)藝術(shù)家個人情趣或意趣的觀念;直到20世紀(jì)初,這種狀況才發(fā)生了根本性的變化,即現(xiàn)代藝術(shù)觀開始以啟蒙精神為核心的真理追求為藝術(shù)的目的。而西方近代藝術(shù)思想一直承續(xù)著自哲學(xué)家柏拉圖以來就以真理(理念、理式)為最高目標(biāo)的藝術(shù)觀念,甚至到加德默爾《真理與方法》的問世,依然堅持以真理追求為藝術(shù)的最高目標(biāo);自18世紀(jì)起,西方出現(xiàn)了對這一思想的反叛思潮,自康德"游戲說"始,最后由貝爾轉(zhuǎn)向了藝術(shù)的有意味的形式(個人趣味、情趣)至上主義。總體來看,兩者相向而行,逆向演變,分野明顯。兩者也有殊途同歸之處,那就是對于生存或存在的看重與表達(dá)。
[Abstract]:At the beginning of modern China, that is, the middle and late Ming Dynasty literati artists, the artistic conception of interest reached its peak. It inherited the idea of expressing the artist's personal interest or interest by art since the Wei and Jin dynasties; until the beginning of the 20th century, This situation changed fundamentally, that is, the modern art concept began to pursue the truth as the core of the enlightenment spirit for the purpose of art. And the western modern art thought has been carrying on the artistic idea that since the philosopher Plato took the truth (idea, principle) as the supreme goal, even to the advent of Gardmer's "Truth and method". Still adhere to the pursuit of truth as the highest goal of art; since the 18th century, the West has rebelled against this thought, from Kant's "game theory," finally from Bell to the meaningful form of art (personal interest, Taste) supremacy. Overall, the two are opposite, the reverse evolution, the distinction is obvious. There are also differences between the two, that is, the importance and expression of existence or existence.
【作者單位】： 浙江師范大學(xué)人文學(xué)院;中國社會科學(xué)院文學(xué)研究所;
【分類號】：J110.9
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本文編號：2206029