对主体性失落的警惕——丰子恺的艺术观与科学观

Alarm on Loss of Subjectivism: Feng Zi-kai's View of Art and Science

丰子恺的科学观和艺术观 ,是对立地存在的 ,两者之间有极强的依赖关联性。 2 0世纪初 ,丰子恺从对西方绘画史的考察中 ,敏感地意识到了现代科学的实用精神正对传统的艺术精神产生着破坏作用。为了遏止这种破坏作用的进一步发生 ,维护艺术的独立地位 ,丰子恺详细论述了科学和艺术之间的不同 ,进而建立起他自己的科学观与艺术观。在这种“科学—艺术”的对待考察中 ,丰子恺的关注焦点 ,乃在于讨论“心—物”之间的对待关系 ,或者说 ,在于探讨人的精神世界 (包括艺术与审美 )在整个世界中的地位与作用 ,强调的 ,正是“我思”主体。因此 ,对丰子恺来说 ,对主体性失落的警惕 ,乃是他讨论科学与艺术问题的最原初的思想动机与总纲 ,其对艺术独立性的维护 ,用意正在于维护人的精神、意识、人格的独立性 ,或者说 ,正在于维护“我思”

Feng Zi\|Kai's science view and art view, while closely related to each other, display opposite existence. At the beginning of 20th century, Feng Zi\|kai, through studying the western painting history, realized with intuition that \!practicality\' of modern science was exerting destructive influence upon the traditional art. In order to keep traditional art from further damage and maintain its \!independent status\', Feng Zi\|kai made a detailed clarification on the difference between science and art, which brings about the establishment of his own view towards science and art. On dealing with the \!Science\\Art\' issue, he focuses on the \!Mentality\|Materialism\' relation. In other words, he attempts to discuss the role and influence of human inner world (art and aesthetic standards) upon the material world. Obviously, what he wants to declare is the \!self\|meditation\'. Thus, as for Feng Zi\|kai, to hold alarm on the loss of subjectivism is the primary mental motive and general principles on probing into the issue of science and art. The maintenance of \!independent status\' of art is to keep the independence of human spirit (consciousness, personality) from collapsing, or in other words, to become the subject of \!self\|meditation\'.