本文選題：形而上情結(jié) + 形而上學(xué)超越性�。� 參考：《華中師范大學(xué)》2003年碩士論文

【摘要】： 本文主要是從當(dāng)代藝術(shù)進(jìn)入市場流通淪為單純商品的歷史現(xiàn)狀來具體分析傳統(tǒng)藝術(shù)的變異，主要分析藝術(shù)精神的流失。藝術(shù)變異的終極原因是當(dāng)代藝術(shù)自身的“形而上情結(jié)”的稀薄，實(shí)際上很大程度上表現(xiàn)為人的終極關(guān)懷的淡薄，根本上講，即人被過度物化的僵化機(jī)械的“有”遮蔽了心靈，從而失去了心靈的浩瀚與豐富；這種“有”是一種失去了與“無”的有機(jī)聯(lián)系的“有”，是人的“有”與“無”的對抗的分裂、消解與遺忘。另外，對傳統(tǒng)過于片面的否定、繼承不足造成了當(dāng)代藝術(shù)中難免片面的創(chuàng)造和超越，，即當(dāng)代藝術(shù)顯示出一種人性心靈發(fā)展上的斷裂與不和諧。因此，這種“形而上情結(jié)”的稀薄也就具體表現(xiàn)在當(dāng)代藝術(shù)所應(yīng)具有的豐富與和諧的超越性的虧缺，而藝術(shù)的傳統(tǒng)魅力正體現(xiàn)于它對于日常生活和歷史的雙重與多維意義上的超越上，這種超越性和與之相附的優(yōu)良的功能正從形式和內(nèi)容兩方面發(fā)生變異，本文所要并進(jìn)一步分析的是這種變異的弊端和原因；并進(jìn)一步，對文化產(chǎn)業(yè)中的機(jī)械復(fù)制問題進(jìn)行相關(guān)性分析。 因此，為抵制當(dāng)代藝術(shù)的有害的變異，本文的初步觀點(diǎn)與結(jié)論即是：藝術(shù)必須復(fù)興“形而上情結(jié)”，這需要從藝術(shù)傳統(tǒng)、日常生活、大自然學(xué)習(xí)，即如何令終極關(guān)懷與世俗日常關(guān)懷并行不悖，達(dá)到和諧，從而使當(dāng)代藝術(shù)獲得他應(yīng)該具有的豐富的、和諧的超越性。從外部聯(lián)系來講，藝術(shù)的寂寞也在于藝術(shù)傳統(tǒng)過于傾向非世俗的一面，當(dāng)代藝術(shù)的矛盾也正很大部分地體現(xiàn)在俗與雅的難以調(diào)和中。因此，在當(dāng)代藝術(shù)不得不走入市場化的今天，這一傳統(tǒng)慣性有必要得到改善，故有必要強(qiáng)調(diào)藝術(shù)的“交往理性”，強(qiáng)調(diào)藝術(shù)的對話功能、世俗性、日常審美性；同時，我們也必須看到，藝術(shù)的雅并不能很快的世俗化或市場化，因此，在提倡藝術(shù)“交往理性”的同時還應(yīng)該考慮到一定的“計劃理性”的保障。
[Abstract]:This paper mainly analyzes the variation of traditional art and the loss of artistic spirit from the historical situation that contemporary art enters the market and becomes a mere commodity. The ultimate cause of artistic variation is the thinness of "metaphysical complex" of contemporary art itself, which in fact shows to a great extent the weakness of human ultimate concern. Fundamentally speaking, people are obscured by the ossified mechanical "being" of excessive materialization. This kind of "being" is a kind of "being" which has lost the organic connection with "nothing", is the division of the confrontation between "being" and "nothing" of human beings, the dissolving and forgetting of "being" and "nothing". In addition, the over-one-sided negation of tradition and the lack of inheritance lead to the inevitable one-sided creation and transcendence in contemporary art, that is, contemporary art shows a kind of breaking and disharmony in the development of human nature. Therefore, the thinness of this metaphysical complex is embodied in the deficiency of the transcendental nature of the richness and harmony that contemporary art should possess. The traditional charm of art is embodied in its transcendence over daily life and history in a dual and multidimensional sense. This transcendence and the excellent function attached to it are mutating in form and content. What this article wants and further analyzes is the malpractice and the reason of this kind of variation, and further, carries on the correlation analysis to the question of the mechanical replication in the cultural industry. Therefore, in order to resist the harmful variation of contemporary art, the preliminary view and conclusion of this paper is that art must revive "metaphysical complex", which needs to learn from artistic tradition, daily life, and nature. That is, how to make the ultimate care go hand in hand with the secular daily care, to achieve harmony, so that contemporary art should have the rich, harmonious transcendence. From the external connection, the loneliness of art also lies in that the art tradition is too inclined to the non-secular side, and the contradiction of contemporary art is also reflected in the irreconcilable between vulgarity and elegance. Therefore, when contemporary art has to go into the market, it is necessary to improve this traditional inertia, so it is necessary to emphasize the "communicative rationality" of art, the function of dialogue, the secular nature, the daily aesthetic quality of art; at the same time, We must also see that the elegance of art can not be quickly secularized or market-oriented. Therefore, the guarantee of "planning rationality" should be taken into account while advocating "communicative rationality" of art.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2003
【分類號】：J02

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 陳月浩;西方當(dāng)代藝術(shù)對室內(nèi)設(shè)計創(chuàng)作的影響的若干研究[D];同濟(jì)大學(xué);2008年

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