仪式与审美尺度问题

发布时间：2018-03-23 12:22

本文选题：仪式　切入点：惯例　出处：《复旦大学》2006年博士论文

【摘要】： 建国后，国内美学界围绕“美的规律”所展开的持久而热烈的讨论，多是从《手稿》的文本语境出发并坚持概念优先，遂使讨论走入迷境。这种做法既不能对《手稿》做出令人信服的解读，也或多或少忽视了审美活动与艺术活动的具体情形。而近些年伴随着人类学在中国的复兴与重建，也带来人文与社会科学领域研究视角的拓展与研究方法的变革。在现有学术背景下，很有必要从人类学的视角出发，对“美的规律”问题做重新审查，尤其是其中的核心概念“尺度”。本文在主张仪式与艺术共生的前提下，将“尺度”理解为“审美尺度”，认为它既可指艺术品在形象制作方面的规范或传统，也可指人内在的评判标准。如果将审美尺度看成艺术制作的惯例，它常和人类其他活动(尤其是仪式)难脱干系。我们认为：仪式作为一种文化现象甚至文化制度，它在延续社会传统、保存族群记忆、整合族群心意状态等方面都有重大作用，而这些作用多数情况下会借艺术与审美的手段来加以强化。当仪式活动结束之后，由仪式所塑造或唤起的情感体验常常会凝定在艺术品这一物态化的形式当中，既能留给参加者反复回味和再体验，也能让人对审美活动形成或隐或显的“前理解”，影响着他对现实事物的欣赏或评判。正因如此，当族群为了现实的功利目的来举行仪式，并让这些仪式活动随族群延续而作为一种传统固定下来的时候，交融在仪式中的审美活动也会因此而获得某种“惯例”意味。而这样一来，在审美判断中常常夹杂着功利考虑，审美尺度与相应的文化背景有着难以斩断的紧密联系，并且在不同地域、不同时期和不同族群中动态生成。如果将审美尺度看成人内在的评判标准，那么对审美尺度的思考，常常会牵扯到对人性之复杂性的思考。毫无疑问，审美尺度背后的主体是一个在不同文化背景下被不断建构的主体。我们以食人仪式和图腾崇拜仪式来分别展现人性中那些非常隐秘和复杂的一面，也由此彰显社会对个体的约束和规整。在此基础上我们强调：文化背景影响着人们对外在世界和自身的感知，由此也就影响到艺术制作的惯例和审美的偏好。在每个族群所特有的审美习俗或艺术制作的惯例背后，常常负载着这一族群所特有的精神观念、文化认知图式。而在面对既有的文化传统或艺术传统时，艺术家既会受其约束，也能大胆突破，并能因自己的独创性而确立新的传统。各个族群在文化交流的过程中，他们在艺术制作之惯例上的互相影响常常在所难免。我们既注意到各族群如何从本民族的文化传统出发，，将外来的艺术样式很好地嫁接在本民族艺术传统之上，从而创造出新的艺术样式。同样也注意到在两种异质文化的交流过程中，一种强势文化会对另一弱势文化的肌理造成损伤，这便是审美尺度与文化交流之间的关系。
[Abstract]:After the founding of new China, Chinese scholars around the "law of beauty" by the start of the long and heated discussion, is starting from the text and context of the manuscript < > adhere to the concept of priority, then the discussion into the lost territory. This approach can not make a convincing interpretation of the manuscript < >, the specific situation is more or less ignored the aesthetic and artistic activities. In recent years, along with the Renaissance and reconstruction of anthropology in Chinese, also bring development and research methods from the perspective of the humanities and social sciences. The change in the existing academic background, it is necessary from the perspective of Anthropology, make a review of the "aesthetic rules", especially the core the concept of "the scale".
On the premise of advocating the symbiosis of ritual and art, this paper regards "scale" as "aesthetic scale". It holds that it can not only refer to the norms or traditions of art in the field of image production, but also refers to the intrinsic judgement standard of human beings.
If the aesthetic scale as art production practice, it often and other human activities (especially the ceremony) difficult to do. We think that the ceremony as a cultural phenomenon and cultural system, it is in the continuation of traditional society, save the memory of ethnic group, integrating the feeling of ethnic group are of great importance, and these functions are mostly will lend artistic and aesthetic means strengthening. When the ceremony was over, the ceremony to shape or evoke emotional experience usually coagulates in the materialized form of art, not only for participants to recollect and experience again and again, also can let a person of aesthetic activities to form either explicit or implicit "pre understanding", influenced him to the realistic things to appreciate or judge. Because of this, when the population for realistic utilitarian purpose to the ceremony, and let the ceremony with the continuation of ethnic groups as a biography When the system is fixed, blend in the ceremony in aesthetic activities will therefore have a "practice" means. And so, the aesthetic judgment often mingled with utilitarian considerations, aesthetic standards and the corresponding cultural background is closely linked to cut off, and in different regions, different periods and different dynamic generation in the population.
If the aesthetic scale of adult inner critical standard, so the scale of aesthetic thinking, often involves thinking about the complexity of human nature. There is no doubt that the subject behind aesthetic measure is a continuous construction in the different cultural background of the subject. We use ogre and totem worship ceremony ceremony to show human nature in those very secretive and complex side, thus highlighting the constraints and regular social individual. On this basis we emphasize: the cultural background affects people in the outside world and their own perception, which will affect the art production practice and aesthetic preferences. Behind the unique aesthetic practices in every ethnic group or the art of making practice, often loaded with unique to this group of spiritual concept, culture schema. And in the face of the existing cultural or artistic traditions, both will be affected by the artist Constraints can also make bold breakthroughs and establish new traditions for their own originality.
The various ethnic groups in the cultural exchange process, they influence each other in practice on art production. Often can hardly be avoided we not only pay attention to the various ethnic groups from the perspective of how the national cultural traditions, the foreign art style is very good on their own artistic tradition, from creating a new style of art also. Note that in the process of two cultures in a culture will cause damage to a weaker culture texture, which is the relationship between aesthetic dimension and cultural exchanges.

【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2006
【分类号】：J01

【引证文献】