话语的溢出、冲撞、化合与内生--近代以来中国艺术审美理论话语论纲

The Overflow,Collision,Combination and Endogenesis of Words——Outline of Discourse on Aesthetic Theory of Chinese Art since Modern Times

人们对于艺术的品鉴与审美,是由一套话语模式掌握的,或者说是通过一套话语模式进行表达的,话语模式决定着对作品的认知与鉴赏。艺术理论话语的溢出、冲撞与化合构成了近代以来中国艺术审美理论话语研究的基础部分,但更重要的是研究中国当代艺术审美理论话语的内生。研究的路径首先是概括现代西方艺术审美理论话语以及中国古代艺术品鉴话语;其次是描述与反思中西两套艺术审美理论话语的溢出与冲撞,以及它们之间的化合过程,特别是当代中国艺术的审美理论话语在近代以来的逐步内生;最后,自1949年以来,当代中国艺术审美理论话语的内生性在加强与加速,一种真正中国性的艺术审美理论话语初具规模。对所有这些百年来中国艺术审美理论话语的新创造进行历史演绎和逻辑建构,完成中国艺术审美话语体系的建构,是我们的总体目标。

People’s taste and aesthetic appreciation of art are expressed through a set of discourse mode,which determines their cognition and appreciation of works.The overflow,collision and combination of the theoretical discourse of art constitute the basic part of the research on the theoretical discourse of Chinese art aesthetics since modern times,but more importantly,it is the endogenous part of the aesthetic theory of Chinese contemporary art.The research path is to summarize the theoretical discourse of modern Western art aesthetics and ancient Chinese art appreciation.The second is to describe and reflect on the overflow and collision of Chinese and Western aesthetic theoretical discourse,as well as the combination process between them,especially the gradual internalization of the aesthetic theoretical discourse of contemporary Chinese art since modern times.Finally,since 1949,the endogenesis of contemporary Chinese artistic aesthetic theoretical discourse has been strengthened and accelerated,and a truly Chinese artistic aesthetic theoretical discourse has begun to take shape.It is our general goal to make historical deduction and logical construction of all the new creation of Chinese art aesthetic theoretical discourse in the past hundred years and to complete the construction of Chinese art aesthetic discourse system.