机械复制时代艺术家地位的改变和艺术品“光韵”的消失——本雅明艺术生产理论的再审视

The Changing Status of Artists in the Age of Mechanical Reproduction and the Disappearance of"Aura"——A Review of Benjamin’s Theory of Art Production

本雅明作为阐述"艺术生产论"的西方马克思主义理论家,他把艺术生产直接看作是社会生产的一部分并使之成为唯物主义的重要命题,是对马克思艺术生产理论的继承和发展,从而否定了一直以来流传的神赐说。通过阐述本雅明艺术生产理论中艺术家和艺术产品在机械复制时代的变化,审视机械复制改变艺术家社会地位、传统艺术产品"光韵"的消失及艺术产品与受众的关系。这些理论对于今天正处在艺术品批量复制生产、文化工业大发展时期的中国来说,对我们了解当代社会、重塑社会关系具有积极的意义。

Benjamin,as a western Marxist theorist who expounded the theory of"art production",regarded art production directly as a part of social production and made it an important proposition of materialism,which was the development of Marx’s theory of art production and negated the theory of divinity that had been spread all along.This paper expounds the changes of artists and artistic products in the age of mechanical reproduction in Benjamin’s theory of art production,and examines the changes of mechanical reproduction in the social status of artists,the disappearance of"Aura"of traditional artistic products,and the relationship between artistic products and audiences.These theories are of positive significance for China,which is in the period of mass production of artworks and great development of cultural industry,to help us understand the contemporary society and reshape social relations.