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或许是美学热、哲学热一度兴起的缘故,“哲理”这个词已日益广泛地渗入到当代艺术的领域之中。哲理的渗透无疑又会影响到与“通俗”的关系问题;哲理与通俗的配比怎样才能被欣赏者所接受?然而许多争鸣往往一深入到概念的层面就遇到了阻碍。究竟什么叫哲理,什么样的作品才有哲理;什么是通俗,什么样的作品才称得上是通俗,实在是人云亦云,莫衷一是的。当我们把握不住“通俗”、“哲理”在概念上的指向的时候,争鸣就会失去其互相沟通探讨的意义,而变成画地为牢的自说自话,变成无聊的嚼舌。
Perhaps because of the aesthetical fever and the rise of philosophical fever, the term “philosophy” has increasingly infiltrated the field of contemporary art. The infiltration of philosophy undoubtedly will affect the relationship with “popular” issues; how can the philosophical and popular approaches be accepted by the appreciators? However, many disputes often encounter obstacles as soon as they reach the conceptual level. What is philosophical and what kind of works have philosophies; what is popular and what kind of works can we call it popular, it is true, it is incomprehensible. When we can not grasp the “ordinary” and “philosophical” points of concept, the contention loses its meaning of communicating with each other and becomes a self-deprecating and self-deprecating chewing tongue.