趣味与设计:艺术批评中的两个传统

发布时间：2018-06-28 23:19

本文选题：西方艺术 + 艺术批评　；参考：《美术学报》2013年05期

【摘要】：西方艺术批评中最具生命力的概念是"趣味",无数艺术爱好者和艺术专业人士有关它的热烈讨论持续了数百年;换言之,如果按照参与讨论者的学术背景和关注点来区别的话,我们很容易看出业余爱好者与艺术实践者之间有着一条清晰的界线。就业余爱好者而言,他们注重的是"趣味"与伦理学和哲学的联系,其最终的结果就是作为哲学分支的美学在18世纪的确立;而专业实践者更在乎"趣味"与具体作品和艺术形式的关联,"设计"便是这一路线建构形式分析词汇体系中的核心概念。印象派之后,这一路线则顺势导向了20世纪以来大行其道的形式主义批评;其代表便是罗杰·弗莱。正是由于弗莱,我们对于现代艺术才有了可资言说的话语体系。本文意在追溯弗莱的话语背景并兼论他对现代艺术批评的贡献。
[Abstract]:The most vital concept in Western art criticism is "interest", which has been the subject of intense discussion by countless art lovers and art professionals for hundreds of years; in other words, if it is distinguished by the academic background and concerns of the participants, It is easy to see a clear line between amateurs and art practitioners. As far as amateurs are concerned, they pay attention to the relationship between "interest" and ethics and philosophy, the ultimate result of which is the establishment of aesthetics as a branch of philosophy in the 18th century. The professional practitioners care more about the relationship between "interest" and concrete works and art forms. "Design" is the core concept in the lexical system of this route construction form analysis. After the Impressionists, this line of thought led to the formalistic criticism that had prevailed since the 20th century; it was represented by Roger Fry. It is because of Frye that we have a system of utterances for modern art. The purpose of this paper is to trace back Frye's discourse background and to discuss his contribution to modern art criticism.
【作者单位】：广州美术学院美术教育学院;
【基金】：2011年国家哲学社会科学基金一般项目:“近代日本文艺批评的文化研究”(批准号:11BWW016)的阶段性成果
【分类号】：J05

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