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每个时代有不同的艺术,每个时代也就有不同的艺术本质观。在这个意义上,适用于一切时代的艺术本质观是不存在的,存在的只有历史的具体的艺术本质观。关于古代艺术的艺术本质观,我已有专文论述,现在对近代崇高型艺术的艺术观再作一次集中的探讨。 随着对立的崇高之代替和谐的美,构成艺术一切因素都突破了素朴的和谐关系,而日益裂变为分离、对峙的关系。在这种对峙中,素朴和谐的古典主义艺术,逻辑必然地而且也历史现实地分裂为两种美学倾向和艺术类型。一种是偏重于客观再现,一种是偏重于主体表现;一种是偏重于客观现实,一种是偏重于主观理想;一种是偏重于认识、思维和勤奋,一种是偏重于情感、想象和天才;一种是向感性的外部世界拓展,一种是向理性的内心世界开掘。前者是现实主义,后者是浪漫主义。
Each era has a different art, every era also has a different view of the nature of art. In this sense, the concept of artistic nature applicable to all ages does not exist, and there exists only a specific view of artistic nature of history. As for the essence of the art of ancient art, I already have an article on it. Now I will make a concentrated discussion on the artistic concept of modern sublime art. As the opposites of opposites replace the beauty of harmony, all the factors that make up art break through the naive relations of harmony and are increasingly fissured into the relations of separation and confrontation. In this kind of confrontation, simple and harmonious classical art is logically and historically divided into two kinds of aesthetic tendencies and artistic types. One is to emphasize the objective representation, one is to emphasize the performance of the main body; one is to emphasize objective reality, one is to emphasize on subjective ideal; the other is emphasis on understanding, thinking and hard work, Imagination and genius; one is to expand the emotional external world, one is to dig into the rational inner world. The former is realism, the latter is romanticism.