艺术体制论源流新释--从贡布里希到阿瑟·丹托与乔治·迪基

A new interpretation of the origin of art institutional theory: From Gombrich to Arthur Danto and George Dickie

学界一致认为,乔治·迪基创造性地发展了阿瑟·丹托的艺术界理论,提出了艺术体制论,为当代艺术提供了一种类社会学的定义和理论框架。然而,早在阿瑟·丹托于1964年提出艺术界理论、迪基于1969年开始建构艺术体制论之前,贡布里希已经于20世纪50年代用艺术体制论阐释艺术了。贡布里希的图像语言学研究直接启发了丹托,贡布里希才是20世纪60年代以来兴起的艺术体制论的真正奠基人。与丹托和迪基试图通过美学思辨为艺术提供定义不同,贡布里希综合语言学、社会学等理论,致力于微观文化史和艺术史研究的具体实践。这为艺术体制论提供了一个更为基础的"复调叙事",并对20世纪中期之后的艺术史和艺术哲学的社会学转向产生了深远影响。但这一点长期以来却被艺术体制论研究者所忽视。重新考察艺术体制论的源流,无论是对贡布里希研究还是对艺术体制论研究,都具有重要的意义。

The academic circle all agree that George Dicky creatively developed Danto’s art world theory and proposed the institutional theory of art, providing a kind of sociological definition and theoretical framework for contemporary art. However, long before Danto put forward the theory of art world in 1964 and Dickie began to construct the institutional theory of art in 1969, Gombrich had explained art with the institutional theory in the 1950 s. Gombrich’s research on "linguistics of the image" directly inspired Danto to put forward the theory of art world, so Gombrich was the real founder of the theory of art system emerging since the 1960 s. Unlike Danto and Dickie’s original intention of attempting to define art through aesthetic speculation, Gombrich, by combining theories in linguistics, sociology and so on, devoted himself to providing specific theoretical methods for the study of micro-cultural history and art history, which provides a more basic "polyphonic narrative" for the institutional theory of art, and exerts far-reaching implications for the sociological turn of art history and art philosophy after the mid-20 th century. Nevertheless, this has long been ignored by researchers. Therefore, whether for the study of Gombrich or for the theory of artistic institutions, it is of great significance to re-examine the origin and development of the theory of artistic institutions.