从崇拜到认同——论本雅明的“气韵”在分众空间的重建

From Worship to Identification:The Reconstruction of Walter Benjamin's “Aura” in the Focus Space

本雅明在《机械复制时代的艺术作品》中论述,传统艺术充满精英色彩和神秘色彩的仪式崇拜,其伴随着艺术的本真性却失之面向大众,复制艺术时代的明星崇拜调动起大众的参与却走向了非理性的虚假和艺术边界模糊。艺术似乎总处于两难境地,气韵与大众化难以调和。然而,当下的分众空间将艺术的传播从小众、大众带到了分众模式。那么,新时代艺术中是否存在本雅明所说的"气韵",以及新气韵与本雅明气韵之间有何本质差异?事实上,受众在分众空间以"对抗"和"追寻"的感知方式表达个人意志。感知方式由传统的"崇拜"走向"认同",艺术的新气韵也许会在此应运而生。

InThe Work of Art in the Age of Mechanical, Walter Benjamin discussed that traditional art was elitist and mysterious. It＇s cult ceremony indicated that traditional art was unique but lost the public orientation. The mass worship in the age of mechanical motivated the public participation but gave rise to irrational falsehood and blurred artistic boundaries. Art always seems to be in the dilemma where aura can＇t mix together with popularization. However, the contemporary focus space takes the communication of art from minority model and mass model to the focus model. Thus, whether there is ＂aura＂ in the new age？ What is the essential difference between the new aura and past aura？ Through the study, author believes that the audience expresses their personal will in the way of ＂confrontation＂ and ＂pursuit＂ at the focus space. The mode of perception moved from ＂worship＂ to ＂identity＂, where the new aura of art maybe grow up.