中国艺术观念传播中的语境三要素

Three Contextual Elements in Communication of Chinese Art Ideas

世界文化史表明,任何一种有生命力的文化范式,都要具备相对的独立性和稳定性,同时也要具备绝对的运动性和传播性。艺术观念的传播其背后是深层次的文化传播,诺夫乔伊的观念史研究和斯金纳的新文化史研究均把观念作为一种“单元—观念”或“物”来看待,因而他们提倡的观念史研究的系统性、语境性问题也就难免落入主客二分的窠臼之中。而中国传统审美“神与物游”中的人与物的泯然合一,却使中国艺术中的文化、历史和生命能够趋于统一。

The history of culture reveals that independence and stability,as well as motility and transmissibility,are indispensable element of a vital cultural paradigm.The communication of ideas of art implied the communication of culture.Both Arthur O.Lovejoy and Quentin Skinner treated ideas as“unit-idea”and“object”,the system and context of which nevertheless fall into the shackle of the subject-object dualism.However,the concept of“Interaction Between the Mind and the Subject Matter”proposed by Chinese traditional culture unified the elements of culture,history and life in art.