红色经典的美学机制与功能

The Aesthetic Mechanism and Function of Red Classics

红色经典把艺术与现实生活重新建立起联系,这不仅有助于打破康德形式主义美学所造成的艺术与现实的区隔,而且为探索“人是什么”“人的自由有没有必然性”这一关乎当代艺术根基的问题奠定了科学基础。梅亚苏在《有限性之后论偶然性的必然性》中的相关论述,尤其是他认为“自然法则之必然性”无须依赖一个被假定存在的建构性主体这一思路,为理解人的自由的必然性问题开辟了新路径,与人类学家对原始民族“互渗律”思维中蕴含着的人类自身构成性内容的探索形成呼应。中国民间社会的文学艺术、宗教信仰和伦理道德中保留着“感兴”“互渗律”思维方式,它所蕴含的生动生活形式和斗争形式与现实生活有一种血脉联系。在特定的历史语境和审美制度中,这种思维方式可以突破形式化和逻辑化的审美经验的潜在图型,获得科学的人类未来世界图式的创造性构想。

Red classics reestablish the connection between art and real life,help break their separation in Kant’s formalist aesthetic tradition,and lay a scientific foundation for exploring the issues of“what is human”and“is freedom inevitable for humans”,which are related to the foundation of contemporary art.In the philosophical work Apres la finitude:Essai sur la necessite de la contingence,Meillassoux opens up a new way to understand the necessity of human freedom,especially his idea that“the necessity of the law of nature”does not depend on a presumed constructive subject.It echoes anthropologists’exploration of the constitutive content of humans contained in the thought of“law of participation”of primitive nations.The literature,art,religious belief and ethics of Chinese civil society have retained the thinking of“ganxing”and“participation”and its lively life form and fight form are bonded by blood with real life.In the specific historical context and aesthetic system,this way of thinking can break through the potential pattern of formalized and logicalized aesthetic experience and obtain the creative conception of future world schema of humans.