摘要
在子学时代,“道”具有抽象的理念意味,但“道不远人”,“道”始于情,而终于人;统治者借助礼乐达到礼治的目的,最终以其艺术性来统摄人心和建构秩序;艺术的政治媒介属性使艺术与政治合一。到了经学时代,“道”则指涉政教的正当性与合法性;艺术成为统治者宣道的媒介和工具;艺术中“美情”和“至善”统一于道境之中。而艺术媒介与“道”范畴的矛盾只有在“以人民为中心”的当下,才可得到根本性的解决,从而建立社会主义艺术伦理观,为人的全面发展奠定基础。
In the era of Zixue,“Tao”had an abstract conceptual meaning,but“Tao is not far from people”.“Tao”begins with emotions and ends with people.Rulers use ritual and music to achieve the goal of ritual governance,ultimately using their artistic qualities to control people’s hearts and construct order.The political media attributes of art make it integrated with politics.In the era of Confucian classics,“Tao”refers to the legitimacy and legitimacy of politics and religion.Art becomes a medium and tool for rulers to preach.The unity of“beauty”and“ultimate goodness”in art is within the realm of Tao.The contradiction between art media and the realm of Tao can only be fundamentally resolved in the current era of putting the people at the center,thus establishing a socialist art ethics and laying the foundation for the comprehensive development of human beings.
出处
《艺术传播研究》
2024年第4期47-56,共10页
Journal of Art Communication
基金
河南兴文化工程文化研究专项项目“河南文化艺术史研究”(编号:2022XWH038)
河南省教育厅人文社会科学研究项目“中华传统艺术与新时代高校思想政治教育有机融合研究”(编号:2024-ZDJH-621)的阶段性成果。
关键词
道
时代转换
伦理建构
政治媒介
艺术观念
艺术媒介
Tao
era transition
ethical construction
political media
artistic concepts
artistic medium
