从前现代到后现代:艺术符号主导因素的历史变迁

From Pre-modern to Post-modern: Historical Changes of the Dominant Factors in Signs of Art

任何物或事物,都是意义“三联体”,在物性、实用符号、艺术符号三者之间滑动。前现代社会,主要为本体论的美学思想,观者的主体审美意识尚不自觉,物、普通符号、艺术符号三位一体,统筹于“技艺”的范畴之下,艺术的使用性与实用表意功能占主导,艺术表意功能大多被悬置。现代社会审美现代性出现,在认识论美学的转向下,观者主体性凸显,一种静观式的审美,艺术符号成为物和普通符号的标出项,使用性与实用表意功能被悬置,而艺术表意功能成为主导。后现代社会进入泛艺术化时代,表现为介入式审美,使用性、实用表意功能、艺术表意功能全面凸显。这三联体中主导的变化,其动力是文化的艺术观念变迁。

Anything is a meaning triplet, sliding between objecthood, practical signs and artistic signs.The ontology of aesthetics in pre- modern society without the viewer s subjective aesthetic consciousness comes from a kind of trinity of objects, artistic signs, and common signs, which is part of the technique.Therefore, the functions of usability and practical ideographic are above the artistic ideographic function of art.In the modern society, with the independence of discipline of aesthetic and the turning of epistemological aesthetics, the viewer s subjectivity is prominent, the artistic signs becomes the mark versus the object and the common signs, in which the artistic ideographic function becomes the dominant.The post-modern society enters into an era of pan-aestheticisation, which is characterized by engagement aesthetics, the functions of usability, practical ideographic and artistic expression are fully highlighted.It s the change in the artistic concept of culture that motivates the dominant change of the triple.