摘要
本文立足于艺术人类学和当代人类学美学的学科视野,认为蒋孔阳的艺术论是其整个自由人生论美学的逻辑前提和潜在的思想基础,这在显性层面上出于他对美学学科化的应对策略和学理考虑,在隐性层面上源于他的艺术本真主义的思想。他对中西艺术和中西美学的共同规律与特殊规律的探寻,是其美学思想中的人文关怀、责任伦理和理性主义精神的集中体现,有着不可低估的跨文化美学意义。
Based on an interdisciplinary perspective of anthropology of art and contemporary anthropological aesthetics, this paper tries to analyze Jiang Kongyang’s theory of art which, the author believes, is the logical premise and the potential ideological basis on which his entire theory of aesthetics of free life is established. And this, on its manifest level, is due to his responding strategy and doctrinal consideration of aesthetics as a formal discipline; and, on its latent level, it derives from his thoughts about artistic authenticity. His theoretical exploration of the common and particular laws in both Chinese and Western art and aesthetics collectively embodies his humanistic concern, his sense of ethic responsibility and his rationalistic spirit, and therefore its cross-cultural aesthetic significance can’t be undervalued.
出处
《文艺研究》
CSSCI
北大核心
2005年第2期38-43,共6页
Literature & Art Studies
