本文關(guān)鍵詞： 元藝術(shù) “時(shí)空”維度 后現(xiàn)代主義 黑格爾 現(xiàn)代主義者 藝術(shù)界定 藝術(shù)哲學(xué) 藝術(shù)品 商業(yè)化 藝術(shù)理論　出處：《廣東社會(huì)科學(xué)》2009年02期 　論文類型：期刊論文

【摘要】：藝術(shù)真正成為理論研究的對(duì)象是近代以來的事情,繼鮑姆嘉通把審美引入哲學(xué)以后,康德對(duì)審美和目的論的考察開創(chuàng)了近現(xiàn)代美學(xué)的先河,黑格爾的美學(xué)與藝術(shù)哲學(xué)的一致性和以藝術(shù)代替自然作為審美反映基本目標(biāo)的觀點(diǎn),標(biāo)志著現(xiàn)代主義學(xué)派的成熟。后現(xiàn)代主義學(xué)派與當(dāng)代藝術(shù)的出現(xiàn)對(duì)傳統(tǒng)藝術(shù)形成了極大的挑戰(zhàn),然而,帶有濃厚商業(yè)化色彩的當(dāng)代藝術(shù)與傳統(tǒng)藝術(shù)的不同僅在于"時(shí)空"的不一樣,對(duì)現(xiàn)實(shí)的批判仍是兩者的共性。很顯然,無論康德還是黑格爾都承認(rèn)藝術(shù)自身的獨(dú)特地位�！稑酚洝穮s用一種新的眼光重估禮樂的價(jià)值,對(duì)作為中國元藝術(shù)的"樂"進(jìn)行了詳盡地剖析,充實(shí)了世界藝術(shù)理論成果。
[Abstract]:Art has really become the object of theoretical research since modern times. After Baumjiatong introduced aesthetics into philosophy, Kant's investigation of aesthetics and Skopos theory opened the first stage of modern aesthetics. The consistency between Hegel's aesthetics and artistic philosophy and the view that art should replace nature as the basic goal of aesthetic reflection. It marks the maturity of modernism school. The emergence of postmodernism school and contemporary art has formed a great challenge to traditional art, however. The difference between contemporary art with strong commercial color and traditional art lies in the difference of "time and space", and the criticism of reality is still the commonness of both. Both Kant and Hegel acknowledge the unique position of art itself. But Le Ji revalues the value of ritual music with a new vision, and makes a detailed analysis of "music" as a Chinese Yuan art. Enriches the world art theory achievement.
【作者單位】： 山東大學(xué)威海校區(qū);
【分類號(hào)】：J01
【正文快照】： 一、藝術(shù)的界定:“時(shí)間”與“空間”之維1.藝術(shù)界定的原本性研究關(guān)于藝術(shù)的定義,諸多學(xué)者都進(jìn)行過研究,早期的學(xué)者更傾向于否定藝術(shù)界定的可能性,原因就在于藝術(shù)的外延趨于無限拓展而被看作是“開放的概念”,從而形成了一種“無理論”的理論。莫里斯.韋茲最早將“開放的概念，

本文編號(hào)：1473030