现代语境下艺术学与美学“分合之争”的反思——以宗白华为例

发布时间：2018-04-12 16:31

本文选题：艺术学 + 美学　；参考：《山西师大学报(社会科学版)》2014年02期

【摘要】：在20世纪现代中国文化—政治语境下,艺术学与美学这两个学科先后经历了绞缠、独立、再融合到再分离的复杂嬗变历程。从现代中国人文学术史看,宗白华先生无疑是百年艺术学与美学"分合之争"的见证人、参与者和实践者,他所建构的"宗白华范式"不仅意味着20世纪中国艺术学与美学两个学科在理论与方法上所达到的高度,同时也体现了中国现代艺术学学科发展进程中的不成熟和停滞状态。宗氏在早期坚持艺术学相对于美学的基本独立地位,到后期又用美学完全取代艺术学,这既有具体的历史—政治原因,也与20世纪中期以来西方艺术学和美学逐渐融合的趋势相同步。考察这两个学科百年分合演化的历史,可以鉴往知来并自觉建构新的中国艺术学理论体系。
[Abstract]:In the context of modern Chinese culture and politics in the 20th century, the two disciplines, art and aesthetics, have undergone a complicated evolution process of twisting, independence, and integration into re-separation.Judging from the academic history of modern Chinese humanities, Mr. Zong Baihua is undoubtedly a witness, participant and practitioner of a century of art and aesthetics.Zong Baihua's paradigm not only means the height of the theory and method of Chinese art and aesthetics in the 20th century, but also reflects the immature and stagnant state in the course of the development of Chinese modern art.Zong insisted on the basic independent position of art relative to aesthetics in the early stage, and then replaced art with aesthetics in the later period, which has specific historical and political reasons.It is also synchronized with the trend of the gradual integration of western art and aesthetics since the middle of the 20 th century.By examining the history of the two disciplines' evolution in a hundred years, we can discern and consciously construct a new theoretical system of Chinese art.
【作者单位】：湖北文理学院美术学院;
【基金】：国家社科基金后期资助项目(12FYS012)
【分类号】：J01-02

【参考文献】