黑格尔的艺术终结观研究

A Study on Hegel's the End of Art

近30年来,艺术终结命题引起知识界热烈讨论,作为最早提出此命题的黑格尔便进入了当代视野。客观而言,黑格尔的艺术终结观是其哲学体系的自然推衍,但从对这一命题的解读伊始,就存在争议。这种争议主要围绕着它的含义是否是指艺术的死亡来展开。克罗齐是目前主张从死亡的角度来解释黑格尔这一观点的代表,而黑格尔主义者鲍桑葵则持异议,从而成为倡导非死亡论的代表。鲍桑葵的意义在于,他转变了在黑格尔那里这一命题仅仅是其哲学体系的逻辑推衍的状态,将它变成了对艺术命运的预测。这恰与当下艺术终结命题的讨论遇合,为黑格尔的这一思想进入当下提供契机和依据。在当代视野中,学者们的争论与交锋,也丰富和拓宽了黑格尔的这一命题,加入了当代意义指向。

In his famous Aesthetics-Lectures on Fine Art, Hegel suggested that art would end. Philoso- phers after Hegel regarded his view as the origin of the thesis of ＂the end of art＂. This thesis has been widely discussed over the last 30 years in the academia, and Hegel＇s view is reexamined again. This pa- per consists of three parts. The first part talks about the end of art in Hegel＇s philosophy. In the second part which analyses the debates about Hegel＇s thesis of the end of art, the author proposes that the de- bates originated from Croce and Basanquet in early 20th century. Croce held that what Hegel claimed is the death of art. Whereas Basanquet thought Croce misunderstood Hegel, thus giving rise to a new perspective of looking into the thesis, that is, about the future of art. This new direction was in ac- cordance with the thesis under recent discussion. Hence Hegel＇s opinion entered into a new context and received new interpretation, which is the task of the third part of this paper.