“艺术”与“工艺”——关于艺术本质的对话

"Art" and "Craft"——A Dialogue about Nature of Art

如果我们将人类的艺术能力视为自然进化的结果,那么便可以对所谓"人的本质"乃至"劳动创造人"等命题得出不同于以往的理解和认识,并重新揭示"艺术"与"工艺"之间的深刻联系。艺术制度的确立,将原本一体的"艺术"与"工艺"区别开来,这虽然给人类的想象力提供了更加自由的创造空间,同时也造成了艺术创作与现实生活的疏远与脱节,从而给康德美学提供了土壤。康德虽然为人类的情感和想象活动开辟了独立的审美空间,有着巨大的理论意义,但同时也容易产生两种误导,一是将"美"和"艺术"等同起来,二是将"艺术"和"生活"割裂开来,其结果反而遮蔽了人们对艺术本质和文化本身的理解。在这种情况下,西方现代艺术逐渐丢失了人类的想象力和创造力,从而使一场艺术的"革命"渐渐沦为美学的"骗局"。

Suppose we regard human competence of art as a result of revolution, the propositions of ＂human nature＂ and ＂human as a creation by labor＂ could be understood differently from the previous way and the profound connections between art and craft could be revealed. The establishment of modern system of art has divided art and craft which are originally one, and this practice has offered more free space for the performance of imagination, at the same time made art alienated from reality of life, and therefore provided soil for Kantian aesthetics. It is theoretically important that Kant has defined an autonomous space for human feelings and imagination; unfortunately, it is also inclined to produce misunderstandings in two ways： on one hand, it wrongly equals ＂beauty＂ with ＂art＂; on the other hand, it isolates art from life, both of which prove very effective for veiling our understanding of the nature of both art and culture. Under the situations as such, modern western art has gradually lost its imagination and creativity and led a ＂revolution＂ in art into a ＂swindle＂.