从“何为艺术”到“为何为艺术”——当代西方艺术体制理论的流变及启示

From "What is Art" to "What is Art For"——The changes and enlightenment of contemporary western art mechanism theory

现代艺术实践的诸多创新和实验使传统美学理论受到了前所未有的挑战,艺术和非艺术界限的模糊迫使美学家们对艺术定义进行重新思考。丹托的艺术界和迪基的艺术体制理论使我们的关注从"何为艺术"的关涉艺术内在属性的本质主义追问转移到"艺术品资格何以获得"的体制性的外部研究上来。美国社会学家贝克进一步发展了迪基的体制论,将艺术世界视为艺术实践的参与者在惯例的作用下反复合作的动态关系网络。无论是在后分析美学还是实证社会学的路径下,"艺术界"理论的演变给当代美学指明了一条新的思路,即摆脱传统哲学思辨的束缚,重新审视艺术与社会历史语境的关系。

Various innovation and experiment in the practice of modern arts make traditional aesthetic theory face unprecedented challenges. The blur boundary between arts and non-art forces esthetician rethink the defi- nition of art. Due to Danto＇ s art circles and Dickey＇ s art system, we have to focus＇on the studies from inner attribute of ＂what is art＂ to external system of ＂how to acquire the quality of art work＂. Baker American soci- ologist developed Dickey＇ s theory, regarding art world as a dynamic relation network of art participators under practice effect. Either in analytic aesthetics or in empirical sociology, the evolution of ＂ art world＂ theory shows a new way for contemporary aesthetics-shaking off the restriction of traditional philosophical speculation and rethinking the relation between art and context of social history.