崇高论美学与现代艺术审美范型描述

From the Theory of Sublime to the Description of Modern Aesthetic Canon

崇高论美学是西方美学史古典时期的产物,罗马帝国时最初提出,十八世纪时理论成型最终落定。表面看,这个美学理论与此后十九世纪中期以来开始出现的现代艺术没有什么关联,简单的时间逻辑也会拒绝这种关联,事实上,迄今也很少有人去言说这样的关联。但是,从美学理论与艺术实践的历史对应出发深入到崇高论美学的内里不难发现,这个理论表面上在述说着另一种美,一种不同于优美的崇高美或壮美,同时也在述说着另一种艺术,一种不同于希腊时期和谐为准的非和谐艺术。这种非和谐艺术的鲜明形态出现在十九世纪中以来的现代艺术中。据此,崇高论美学有助于揭示出现代艺术的审美范型,彰显出现代艺术的美学奥秘。

As a(philosophical)product of Classical times, ‘sublime' was first founded at the age of Roman Imperial and has finally been settled during 18 th century. Apparently, it seems scarcely bear any connection with modern art that didn't come into being until 19 th century, it looks impossible. In fact, this very connection has never been mentioned before.However, if takes the perspective of the parallelism between the aesthetic theory and the artistic practices to reach the essence of sublime, it seems reveal a greatness(‘boundlessness') of ‘sublime' that differs from ‘beautiful' and an inharmony of modern art that stays away from the golden rules of Greek Harmony. This feature of inharmony appears in modern art pieces from 19 th century. Thus, the aesthetic theory of sublime is necessary to the unveiling of modern art canon which is the key of the aesthetic research on modern art.