偶像禁令与艺术合法性:一个问题史

Ban on Idol and Legality of Art: History of an Issue

发端于犹太教的偶像禁令与柏拉图对于形象的贬低一起,构成了西学源流中关于艺术合法性的两大命题。对于康德,该禁令下的艺术合法性来自于无形式的崇高最终的道德走向;对于利奥塔,致力于表现不可表现的崇高美学则暗含了后现代性重写现代性的要求。然而,列维纳斯却通过该禁令判定了现代艺术之"不合法",因为现代艺术在对自身自足性的寻求中,丧失了其伦理向度,沦为静滞的偶像。马里翁则通过对偶像和圣像的区分,对作为圣像的艺术及其超越图像和亲近神圣的可能性进行了勾勒。另有一些思想家,则基于这条禁令,从政治角度将艺术合法性奠基于对意识形态和拜物等的批判上,在其政治和美学构想背后则有一种反偶像崇拜的乌托邦主义支撑。文章同时也通过该禁令,重新审视了文字(文学)与图像(绘画)、听觉与视觉之争。

Ban on idol originating from Judaism and the belittlement of image by Plato consist the two great propositions about the legality of art in the origin of western civilization. To Kant, legality of art against the ban comes from the ultimate moral orientation of sublimity without form; to Lyotard, dedication to expressing the inexpressible aesthetics of sublimity implies the need to rewrite modernity on the part of post modernity. However, Levinas judges the ＂wro ess＂ of modern art based on the ban because modern art loses its ethical dimension in the pursuit of self-sufficiency and becomes a static idol. Marion distinguishes idol and icon, and describes icon as art and the possibility of its transcendence of image and being close to the holy. There are other thinkers who, based on the ban, base legality of art on the criticism of ideology and fetish from political perspective, while being supported by iconoclast utopian ideas in their political and aesthetic consideration. This article reinvestigates the conflict between character （literature） and image （painting） and sense of hearing and sense of sight.