摘要
先验共通感和可穿戴艺术看似两个独立的领域,前者源自康德的哲学体系,后者则是现代设计和科技的产物。但当深入探究两者之间的联系时,会发现它们在理念和实践上有诸多交集。可穿戴艺术研究的是表象背后隐性的知识、艺术家创作时所用的形式形态以及与社会生活的关联性,通过分析可穿戴艺术作品表象下的隐性含义印证先验共通感在主体与客体之间的作用。文章从先验共通感的概念出发,探讨其在可穿戴艺术中的应用,并分析两者如何相互影响和促进。审美共识的存在是对可穿戴艺术设计的一种重要支持,其以审美共识作为评价的初始依据,并给出了一个广泛且不变的审美准则。此外,由于可穿戴艺术的创新性和交互性,其对于审美共识的现代呈现以及实际运用也有所增加。
Transcendental synesthesia and wearable art seem to be two independent fields.The former originates from Kant’s philosophical system,while the latter is a product of modern design and science and technology.But as we delve deeper into the connection between the two,we will find that they have many intersections in both philosophy and practice.Wearable art studies the implicit knowledge behind appearances,the forms used by artists in their creations,and their relevance to social life.By analyzing the implicit meanings beneath the appearances of wearable art works,it confirms the role of transcendental synesthesia between subjects and objects.Starting from the concept of transcendental synesthesia,this article explores its application in wearable art and analyzes how the two interact and promote each other.The existence of aesthetic consensus is an important support for wearable art design,which takes aesthetic consensus as the initial basis for evaluation and provides a broad and unchanging aesthetic criterion.In addition,due to the innovation and interactivity of wearable art,its modern presentation and practical application of aesthetic consensus have also increased.
作者
蔡畅
Cai Chang(College of Fashion Arts,Hubei Institute of Fine Arts,Wuhan 430000,China)
出处
《纺织报告》
2024年第11期126-128,共3页
关键词
可穿戴艺术
先验共通感
审美
情感表达
wearable art
transcendental synesthesia
aesthetics
emotional expression
