摘要
艺术形式创制有其现实关联,即从出于物。物有形也有体,形来自人对物的把握,体则来自物本身。唯有有体,呈现体性和体相的形才是即物的,才会给人以实感。西方艺术,无论是希腊—文艺复兴传统,还是现代主义,艺术形式都是有形有体的,因此写实,呈现出确定性;中华艺术则相反,形式创制是有形无体的,因此不写实,没有确定性。形是一切艺术作为感性文化必须具备的,否则形式便无从感知,艺术也就不复存在。但是,体则不是艺术形式所必需的,一个无体之形依然可以诉诸感官。体与个体性相连,无体之形虽能感知,但已不再系之个体存在。西方艺术由于有形有体,感知便是个体性的,不可复得,无以共享;中华艺术由于有形无体,感知便是非个体性的,是在共体层面发生。所以,形式的有体无体展现了中西艺术的分水岭所在。这是从中西艺术面临的与现实关系这个共有问题出发,由不同即物方式得出的一个认知。
The creation of art forms has its own relevance deriving from objects.Objects possess form and body,with the former coming from human conceiving of object and the later the object itself.It is only when there is a body that presents the physicality and corporeality of the object,a sense of reality can then be sensed and comprehended.In Western art,whether in the Greco-Renaissance tradition or Modernism,art forms have both form and body and are therefore realistic,presenting certainty.In Chinese art,on the contrary,art forms are created with only form yet no body,and are therefore ceased to be realistic or to provide any certainty.Form is essential to all categories of art as it answers the natural request for a culture of sense.Art would cease to exist without perceiving form.Form without body can still appeal to the senses.Body is linked to individuality;therefore form without body can be perceived yet no longer tied to individual existence.In Western art,because there is form and body,perception is individual and cannot be regained or shared.In Chinese art,because there is only form without body,perception becomes non-individual and occurs at the level of the community.Therefore,forms with or without body show where the watershed between Chinese and Western art lies.This paper proceeds from the common problem of Chinese and Western art,that is to say,the relationship between art and reality.It ends up with a recognition on the different methods of approaching the object.
出处
《学术研究》
CSSCI
北大核心
2022年第5期142-151,178,共11页
Academic Research
基金
国家社科基金重大项目“文明互鉴视域下中华审美文化对近现代西方的影响研究”(17ZDA016)的阶段性成果。
