He gave a speech and wrote a complete speech (note: 1926- 1928). For the speech on art written by Zong Baihua, please see the Complete Works of Zong Baihua, Volume 1, Anhui Education Press, 1994. Due to various reasons, China's artistic research has been in a state of silence for a long time, and even delayed.
It failed to achieve its due status as other related disciplines such as aesthetics, literature and art, fine arts and musicology. In 1980s, some scholars called for the vigorous development of art and the establishment of its disciplinary status as soon as possible. Art? art
Science, World Art and Aesthetics Series III, Culture and Art Press,1983; Li Xinfeng: Conception of Art Studies, Literature and Art Studies,No. 1988,No. 1. )。 In the mid-1990s, it was recognized by Zhang et al. of the Art Discipline Appraisal Group of the State Council Academic Degrees Committee.
At the initiative of the State Council Academic Degrees Committee, two disciplines of art were added to the first-level discipline of art. At this time, some domestic universities such as Southeast University, Peking University and Hangzhou University established art departments in June 1994, September 1997 and March 1998 respectively.
. This shows that the disciplinary position of art has been established in China. How did art come into being? What did it study? How does it engage in its own research? The analysis of these problems will help us redefine the concept of art under the new historical conditions.
Object, category and research method.
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German scholar Max? 1906 Dessoir (1867- 1947) published Aesthetics and General Art, which marked the birth of art as an independent discipline. As its title shows, this book is divided into two parts: the first part is aesthetics.
The second is general art, and the general art here is what we call art now. General? The qualifier ""is added to distinguish it from special arts (such as fine arts, musicology, drama, etc.). The basic starting point of Dersoir is that people are now.
The aesthetic relationship between reality and artistic activities is only partially overlapping. Therefore, the discipline of studying art should be distinguished from the discipline of studying beauty and its perception. He opposes the traditional view that art and beauty are inseparable, and thinks that art not only expresses beauty, but also expresses sadness, joy, loftiness,
Humble and even ugly. On the other hand, the aesthetic field is broader than the artistic field, because the aesthetic field includes not only artistic phenomena, but also natural phenomena and other phenomena in the real world. In addition, art not only produces aesthetic enjoyment, but also has a series of other functions. General art should be
When studying this multifaceted nature of art, it is different from aesthetics. Dessoir's view is obviously one-sided. He greatly narrowed the field of aesthetics and only gave a classic explanation of beauty. We believe that it doesn't matter just because art expresses sadness, joy, loftiness, meanness and even ugliness.
Art and beauty are inextricably linked. Art embodies the aesthetic attributes of reality, including not only beauty, but also all kinds of ugliness, sadness, joy, loftiness and meanness in form. The unity of various aesthetic attributes lies in their direct and indirect affirmation of beauty.
However, De Sawyer's theory is objectively positive. This is a response to the formalism and aestheticism that were widely popular in Europe in the second half of the19th century, and it was supported by many people in Delson at the same time.
In the same year that his works came out, De Soyt founded the Journal of Aesthetics and General Art with the same name as his works. This is an international authoritative magazine on aesthetics. In its first few issues, Lipps, a representative figure of empathy theory, published an article "The Origin of Art"
Author Gross, and Conrad? Langer, Rick Harder? Harman, Walcott, etc. During the Second World War, the journal ceased publication on 1943 and resumed publication on 195 1 in Stuttgart. Now, it has changed its name to the academic journal of aesthetics and general art .. Some aesthetic historians have mixed this up.
As a mirror of the development of German aesthetics in the 20th century (Note: КаΥан, editor-in-chief: Lectures on Aesthetic History, Vol.3, Vol.2, Moscow, 1977, p.7). )。 19 13 10, Dessoit, again? Aesthetics and general art? The first conference on this theme was held in Berlin.
In 2008, 525 representatives from all over the world attended the International Aesthetic Congress. At that time, almost all the famous aestheticians in Germany made reports at this meeting, including Emile? So what is the topic of Utitz and Harman's report? Aesthetics and general art? . According to American aesthetician Thomas?
Munro believes that De Soyt and Utitz are the leading figures in maintaining German aesthetics in western aesthetics (Note: See Judy: Contemporary Western Aesthetics, People's Publishing House, 1995, p. 1 page. )。
? Aesthetics and general art? This juxtaposition and contrast has repeatedly become the topic of book titles, publications, international conferences and academic reports, which is intriguing in itself. Art is born from aesthetics. If Baumgarden separated aesthetics from philosophy in the middle of18th century,
Learning and independence, then de Soto made art independent from aesthetics at the beginning of the 20th century. Dessoir's main followers are Utitz and Haman.
In Basic Principles of General Art (Volume 1 published in 19 14 and Volume 2 published in 1920), Utitz thinks that art is a cultural phenomenon, not a narrow aesthetic phenomenon. As a cultural phenomenon, art expresses rich culture and human needs. Before him.
It seems that art is not a local condition of aesthetics, and the essence of art can only be understood through itself. In people's spiritual life, it is especially necessary to know the world directly through observation. Art's understanding of the world involves various fields of value? moral value
Religious value, political value, aesthetic value, etc. It is precisely because art is an extremely complex cultural product formed by the interaction of various fields that different methods such as values, psychology, culturology and aesthetics are needed to study it.
Wait a minute. Within the scope of a certain science, such as psychology, culturology or aesthetics, all these methods cannot be unified. Therefore, generalized art came into being to understand the essence of artistic activities based on the local research results of various disciplines.
Utitz also talked about? General art? This concept comes from the aesthetic view of German scholar hittner in the19th century. Hittner's major works include Opposing Speculative Aesthetics and Modern Drama. He sharply criticized the aesthetics of Hegel and his successor Fischer (Fischer in
Aesthetics, or the science of beauty, tries to establish a generalized aesthetic system based on the basic principles of Hegel's aesthetics. Hittner thinks that art, as a social phenomenon, is? The perceptual expression of our perceptual concepts, feelings and reflections? . Art does not exist for creation at all.
The purpose of creating beauty and art is not to enjoy at all. Spitzer's masterpiece about hittner was published in 1903, right? General art? The formation of this concept played an important role.
In Aesthetics published by191and Modern Art and Culture published by 1922, Harman regards art as a multifaceted cultural phenomenon, in which aesthetic factors are integrated with practical factors, utilitarian factors, ideological factors and other factors, so it is necessary.
It is necessary to examine the development of art in a broad cultural and historical background. He believes that the essence of beauty is different from the essence of art. Only by recognizing the essence of aesthetic process can we understand the close relationship between aesthetics and art, and art and beauty will not be confused. Harman pointed out that some arts are valuable.
Will be associated with an isolated aesthetic experience, which he calls. Experience art? However, there are also arts that connect us with life. For example, decorative practical art does not isolate us from life, but makes us closely related to life.
Connection, which makes the whole life an art, based on the distinction between beauty and art, Harman advocates the independence of art.
The independent movement of art reflects the rethinking of aesthetic objects. Dessoir and others believe that traditional aesthetics studies two groups of problems: aesthetic value and artistic activities. Because of the difference between the two, it is necessary to put art activities under the door of art alone. We agree with art.
Art activity is the research object of art, but it is not in favor of cutting art activity from aesthetic object. Since the object of aesthetics is aesthetic value, we have to study art, because art is also an aesthetic value and a very important aesthetic value. beautiful
Both science and liberal arts study art, so what are their differences? The difference lies in their different research angles and methods. Aesthetics studies the universal law of various aesthetic values (including art), and art studies the special law of artistic value as aesthetic value. this is a
The relationship between general and individual. Aesthetics studies art from the height of philosophy, and its research has philosophical significance, while aesthetic research is more speculative and abstract. However, when art studies art, it only involves the category of aesthetics in a certain aspect or to some extent, and it has an unconscious aesthetic nature.
The research on technology is more empirical and concrete, and pays more attention to artistic practice than aesthetics. The historical background of the emergence of art determines its characteristics in research methods.
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Art was conceived in European aesthetics in the19th century, especially in German aesthetics in the second half of the19th century. It is not a whim of some people, but has a solid foundation, distinctive characteristics of the times and profound historical reasons. We think these reasons are
There are less performances in four aspects.
First of all, the emergence of art is the inherent need of the development of science itself. /kloc-The widespread spread of positivism in the 20th century led to the gradual separation of aesthetics from philosophy and its connection with specific knowledge fields, such as psychology, physiology, sociology, linguistics and specialization.
Combine with art (fine arts, musicology, drama, etc.). ), aesthetics began to use the methodology of these knowledge fields, thus producing psychological aesthetics and sociological aesthetics. Philosophical aesthetics lost its former dominant position in the second half of the19th century. Since Cai Qin (discovered?
Golden section? Since the works of psychologists Fechner, Feng Te and Lipps came out, psychoaesthetics has become an influential aesthetic school. Since artistic creation and aesthetic perception are psychological processes, since these psychological processes are all determined by certain factors.
Because unconsciousness, association and imagination are of great significance in this field, psychoaesthetics can reveal some laws in the process of artistic creation and artistic perception. Sociological aesthetics, represented by submarine Pingdingshan and Lalo, are interpreted at the same time.
It was formed in the debate between unified philosophical aesthetics and trendy psychological aesthetics, and absorbed many valuable contents from sociological theory to illustrate the social certainty of artistic creation and aesthetic perception. At the same time, social psychology is formed at the junction of sociology and psychology, which is of great significance to art.
Artistic creation and aesthetic feeling are explained by social psychology. Answer? Hildebrand, Hanslick and others returned to the special aesthetics of art from philosophical aesthetics, and they completely integrated aesthetics into the historical research and theoretical research of some arts (published by Hanslick in 1853).
On the Beauty of Music integrates aesthetics into musicology. This kind of research has certain advantages: by summarizing the specific process of artistic activities, it has accumulated rich and valuable materials; However, it also has its limitations: it simplifies artistic activities into some technical production processes.
The number of subjects studying art has increased, but the research on art has also been scattered. Moreover, these disciplines compete with each other and covet the exclusive right to specialize in artistic research. For the development of art science, it is necessary to comprehensively study various methods of art.
It is through the establishment of general art that others try to synthesize psychological methods, sociological methods, philosophical methods and special artistic methods of art research. No matter to what extent their synthesis is dialectical unity, or just mechanical patchwork, their taste
Examinations are valuable and meet the internal development needs of art and science.
Secondly, the emergence of artistic science is the demand of artistic practice for theory. /kloc-in the 9th century, European aesthetics not only showed a centrifugal tendency towards philosophy, but also some people, such as Fechner, tried to make use of it? Top-down aesthetics? To dissolve and replace? Top-down speculative philosophical aesthetics. expense
As the founder of psychological aesthetics, Hina pays attention to the structure of aesthetic objects, while other representatives of psychological aesthetics, such as Lips and Feng Te, pay attention to the behavior of perceptual subjects. Although their emphases are different, they are all specific.
It is consistent to engage in your own research according to aesthetic experience. Psychoaesthetics has its limitations, but the research method based on concrete facts has aroused the resonance of other theorists. ? Bottom-up aesthetics? Not limited to psychological aesthetics, others directly face artistic facts.
Art theorists who are closely related to artistic practice also call themselves aesthetics? Bottom-up aesthetics? , or practical aesthetics. The representatives of this theoretical school are Zemper and Federer. Zempel is an architect. His masterpiece "Technical Art and Structural Art" was published in 1863.
Isn't the artistic style, or practical aesthetics, just to follow? Pure aesthetics? Explain the art form, but? From bottom to top? Studying it is to study the form according to its main components and basic conditions (such as ideas, forces, materials and means). So, he's right? General technology
? I have a soft spot for this and am famous for it.
Did Utitz call Federer? Father of modern art? , Japanese Takeuchi Xiong Min's "Aesthetic Chronicle" also regards it as? Father of art? (Note: Li See Xinfeng: An Introduction to Modern Art, Guangxi Education Press, 1995, p. 2 12.
. ) Federer and Zempel's theoretical views are diametrically opposed, but they are consistent in their close connection with artistic practice. Federer's theory is first oriented to artists, and he also regards his theory as a practical aesthetics. If Zempel studies art,
Products, especially handicrafts and artistic industrial products, to establish their own formal theory. Then, is Federer's theory the same as that of two famous artists in the second half of the19th century? Hans the painter? Marley and the sculptor Adolf? Hildebrand's artistic creation activities
Close contact. Federer is deeply dissatisfied with the vulgar imitation of naturalism and the rationality of scholasticism in contemporary painting. He believes that the reason for these two extremes is to apply different methods to art, and he advocates that art should get rid of the connection with real life, and
Become lofty, abstract, static and eternal. It does not attract the public, but attracts eternity. This art is similar to Plato's rational world. It should not reproduce reality, nor should it escape from reality, but should create new reality. In order to accomplish this task, artists should
This development is to be able to see their extreme state and their absolute prototype in real things. Federer's view implied the embryonic form of abstraction, which had a great influence on art theory and practice in the early 20th century. Although Federer called on artists to create reality, he was firm.
Never oppose subjective randomness, but still insist on the reappearance essence of painting. The artistic creation of Marley and Hildebrand embodies Federer's theory. Both these artists and Federer like Italian Renaissance art? Rome Group? Members of. Marley in the golden age
"and other works, borrow the moral image of ancient Greek and Roman art, and strive to express abstract artistic ideals with pure modelling technique (harmonious rhythm and colorful shaping). Although some viewpoints of practical aesthetics are debatable, this theoretical school is closely related to contemporary artistic reality.
Practical research activities, to some extent, catalyzed the birth of art.
Third, the expansion of art field makes art independent from aesthetics. /kloc-from the end of 0/9 to the beginning of the 20th century, the field of art expanded beyond the scope of pure art (painting, sculpture, music, dance, drama, etc. ) has been studied and absorbed by traditional aesthetics.
Industrial civilized products, which combine technical activities, communication activities and other activities with artistic activities and aesthetic activities. Traditional aesthetics often takes a haughty and contemptuous attitude towards them. The general art is to understand these arts related to life practice and reveal them.
Structure determines its position in the art world and social life. Harman first analyzed the advertising art from an aesthetic point of view in Aesthetics published by 19 1 1. Advertising art integrates utilitarian function, commercial function and aesthetic function. What is striking is Gropius.
19 19 Bauhaus school established in Germany to train architects and industrial designers. Bauhaus was deeply influenced by the European aesthetic trend initiated by Rousseau and developed by Schiller, Ruskin and Morris, trying to eliminate the deepening art and
Life practice is out of touch. It does not require artists to beautify the material world from the outside through decoration, but to fully display the humanistic spirit in technological creation activities. This task is beyond the ability of traditional art and engineering technology. Therefore, art
New family: industrial design as a combination of art and technology. Gropius defined the basic task of Bauhaus as: the creative process becomes an inseparable whole in comprehensive work. Industrial designers should restore the integrity of medieval craftsmen's activities under new conditions.
Medieval craftsmen were both artists, designers and product producers. Gropius wrote:? Architects, sculptors and painters, we should return to handicrafts! Never again? Art as a profession? Artists are just senior craftsmen. ? (
Note: Gropius: The Boundary of Architecture, Moscow, 197 1, p. 225. ) why? No longer take art as a profession? And then what? Because Bauhaus should not only create the form of objects, but also build his own life according to the ideal of harmony and equality. It takes art from a place
This special professional activity has become a great creation of the aesthetic transformation of life. This idea is obviously influenced by Federer's theory that art is legally created. Art is a creative thought, which has opened up broad prospects for the development of art and culture in the 20th century and has become a reality.
Theoretical and practical basis of contemporary architecture and industrial design.
The last reason for the emergence of art is the empirical research results of art, especially in the ethnographic research of art. The famous representatives of the ethnographic research of art are Gross, Bischel and Sheehan of Finland, who focus on the artistic calendar.
In terms of historical generation, we focus on the origin of art. In The Origin of Art (1894), Gross insisted on bringing the artistic creation in prehistoric times into the vision of art. He expounded the multifaceted nature of primitive art and showed that primitive art was not produced for purity at all.
Aesthetic purpose, but for some utilitarian purpose. For example, the decorative patterns in primitive society have no aesthetic significance, but only practical significance, which first serves the purpose of communication and signal. Moreover, the hunter's keen and flexible aesthetic ability in primitive society is alive.
Art develops in the struggle for existence, and the origin of art depends on this struggle for existence. In Work and Rhythm (1894), Bishop expounded the deep connection between the production of music and the labor process. He also supported the view that primitive art was multifunctional. In primitive society, labor and labor were related to each other.
It is related to the infinite repetition of non-stop and balanced movements, resulting in a sense of rhythm. Bischel explained the consistency between labor and dance with a large number of examples, and singing is an integral part of labor process, cultural etiquette and sacrificial activities. Generally speaking, the research results of this school of scholars
Becoming a model of empirical art research is of great significance to the formation of art disciplines.
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The emergence of art in Germany is not an isolated phenomenon, but has been actively echoed by scholars from other European countries, especially the Vienna School of Art. The main representatives of this school are Wolflin in Switzerland, Laegel in Austria and De Vozak in the Czech Republic (famous art,
Teacher of surgical sociologist Hauser).
Wolflin was mainly influenced by two aspects: first, his teacher, Bucharest, a Swiss cultural historian and cultural philosopher; Second, what we mentioned above? Rome Group? Wolflin wrote his book Renaissance and Pakistanis during his trip to Italy.
Roark (1889) visited when preparing materials? Rome Group? . This influence is mainly manifested in two aspects: First, Wolflin has a stable interest in Renaissance art, because Buckhardt and? Rome Group? Is a lover of Italian Renaissance art..
. Second, Wolflin focused on art forms. ? Rome Group? The theoretical theme of Federer's members is to let art break away from non-aesthetic elements and only pay attention to aesthetic value. He also regards art as a routine creation. Welf Lin inherited this.
A theoretical tradition holds that artistic form is the main creative factor of artistic activities.
In order to describe the evolution of art forms, Wolflin put forward five famous corresponding concepts: linearity and painting, flatness and profundity, closed form and open form, wholeness and heterogeneity, clarity and fuzziness. He believes that these concepts are aesthetically neutral, and each one
A concept has the same possibility in observing beauty and creating artistic value. From this, he explained the difference between Renaissance art and Baroque art almost with the accuracy of natural science. The artistic lines in the Renaissance are clear in outline, and the objects depicted are plane arrangement and form.
It has the characteristics of locking, integrity and clarity. On the other hand, Baroque art is unpredictable and hazy in outline, profound, heterogeneous and unclear in form. It has always been used in the history of European aesthetics to classify the types of artistic development with one or several corresponding concepts.
I do. Like Schiller's? Simple poetry? And then what? A sentimental poem? Nietzsche's? Dionysian spirit? And then what? Apollo spirit? Wait a minute. And this practice has been repeated many times in European art in the 20th century.
Raiguel proudly declared himself a positivist many times, and he didn't believe in all kinds of theoretical speculations. What is the basic concept of his philosophy of art history? Artistic will? (Quince Warren). However, he himself did not give an accurate explanation of this concept. So, it's almost
Reading seems vague and uncertain. It is a general term to express the historical replacement of artistic activities, which is roughly equivalent to genres and styles. The art of one era is different from that of other eras. Raiguel sharply criticized the evolution of Zeng Peier's artistic style.
It depends on the viewpoint of material, technology and function, but he himself fell into the other extreme, completely canceling the objective and decisive problem of artistic will. As for how artistic will works, raiguel thinks that there are two completely different forms of artistic expression, which are two ways.
Different types of artistic perception? Based on touch and vision. On this basis, he distinguished two different relationships between art and the world? Objective relationship and subjective relationship.
De Vozak studied under Laegel, but he revised the concept of artistic will in On Teachers. He put the history of art in the history of spiritual culture, first of all, the history of religion and philosophy, and regarded the history of art development as an integral part of the history of spiritual development, emphasizing the study of art.
We should have rich knowledge of general spiritual history and give full consideration to these spiritual premises. He described the whole spiritual atmosphere of the Middle Ages in detail in The Concept of Medieval Art.. What was dominant at that time? Idealism. Idealism? , it and modern? Pantheism and secularism
Idealism? Quite the opposite. Two different spiritual atmospheres have created two completely different arts. He convincingly showed that only by studying art history as an integral part of spiritual and cultural history can we make an accurate understanding of it. Of course, the analysis of spiritual culture
It can lead to the interpretation of the art it contains, and so can reverse thinking: the analysis of art can lead to the understanding of culture. By analyzing all aspects of cultural development, de Vozak came to the conclusion that in the process of historical development, not only the style and form of art
Its original task has been changed, so has our concept of art, its position in other cultural phenomena and its social existence.
Once born, art has developed in different degrees and ways in many countries in the world, showing the characteristics of universality, times and nationality. After the discipline status of art was established in China, the China Aesthetic Society and the Art Department of Southeast University merged into 1996.
Co-founded the series of Aesthetics and Art Studies. It coincides with the name of the magazine Aesthetics and General Art founded by Dessoir 90 years ago, which shows the internal relationship between aesthetics and art, and also shows the unity and cooperation between academic circles and art circles in Gome.
The determination to improve our position in aesthetics and art research is just as Ru Xin and Zhang, the editors-in-chief of Aesthetics and Art Research, pointed out in their publishing speeches. As far as aesthetic research is concerned, there was a time when it was mainly confined to the philosophical discussion of beauty and could not jump out of the circle of abstract concepts.
As far as the study of art theory is concerned, it is often limited to the study of categories (such as the history and theory of painting, the history and theory of music, etc.). ), the lack of overall macro-structure, in order to summarize and summarize the general principles and common laws of various arts and their respective characteristics.
, basically belongs to the absence. ? (Note: Aesthetics and Art Research, Jiangsu Fine Arts Publishing House, 1996, p. 1 page. The establishment of aesthetics and art research will certainly play a positive role in promoting China's aesthetics and art research.