西方现代艺术的观念转型

发布时间：2018-08-04 17:13

【摘要】：曹砚黛认为,从最本质的意义上讲,林林总总的现代艺术都是观念艺术,或者至少都是关于"观念"的艺术。在这种"观念"被凸显而"审美"被弱化的艺术面前,传统的"本质主义"的美学理论确实面临着危机。正是为了克服这种危机,才有了亚瑟.丹托的"艺术终结论"和乔治.迪基的"艺术惯例论"。王祖哲认为,艺术的精神实质不是"观念",而是"想象"。正是由于背离了这一精神实质,才使得西方现代艺术在一种虚张声势的观念游戏中陷入了一场难以自拔的美学危机。而作为这场危机的理论掩盖者,乔治.迪基的"艺术惯例论"与已经商业化了的现代艺术制度之间构成了某种共生和共谋的关系。陈炎则主张,必须从西方感性与理性分裂的文化逻辑中去寻找造成这场"美学危机"的内在驱动力。由于理性精神的极端性发展,走上绝境的认识论美学只得乞灵于哲学思辨,从而使艺术从科学的附庸演变为哲学的奴仆。齐安.亚菲塔则认为,现代艺术视觉观念的转型有着深刻的历史原因,但是西方人在废除旧的艺术法则之后却无法建立新的艺术范式。为此,他不仅提出了自己有关"心印"的理论,而且希望借中国文化的优势来解除西方艺术的困局。
[Abstract]:Cao Yande believes that, in the most essential sense, all modern art is conceptual art, or at least it is all about concept art. The traditional "essentialism" aesthetic theory is indeed facing a crisis in the face of this kind of "idea" being highlighted and "esthetic" being weakened. It was to overcome this crisis that Arthur was born. Danto's the end of Art and George. Dickie's the Theory of Art practice. Wang Zuzhe believes that the spiritual essence of art is not concept, but imagination. It is precisely because it deviates from the essence of this spirit that the western modern art is caught in an esthetic crisis in the game of bravado. And as the theoretical cover-up of the crisis, George. Dicki's Theory of Art practice forms a symbiotic and collusive relationship with the commercialized modern art system. Chen Yan argues that the internal driving force of the aesthetic crisis must be found from the cultural logic of the split between sensibility and reason in the West. Because of the extreme development of the rational spirit, the epistemological aesthetics, which has reached a desperate stage, has to appeal to philosophical speculation, so that art changes from a scientific vassal to a servant of philosophy. Zion. Yafita believes that there are profound historical reasons for the transformation of modern art visual concepts, but Westerners cannot establish a new artistic paradigm after abolishing the old art rules. Therefore, he not only put forward his own theory of "initiation", but also hoped to use the advantages of Chinese culture to relieve the difficulties of western art.
【作者单位】：山东大学文艺美学中心;
【分类号】：J110.95

【相似文献】