艺术真理唯一性的哲学解构

A Philosophical Deconstruction of the Uniqueness of Artistic Truth

随着机械复制时代的来临以及由此引发的艺术品原创性的消失,艺术的本质问题成为现代艺术理论研究领域的一个重要的学术命题。瓦尔特·本雅明、海德格尔、梅洛-庞蒂分别从灵韵、物性和身体现象学角度出发,讨论艺术的本真性问题,形成各自不同的艺术本质论阐释模式。从认知史与认识论出发,回顾并检讨既往的理论模式,可知艺术的本真性并非存在于主体性中,而是建立在界定主体性的关系之中,这种主体间性决定了艺术的本质是连续的、流动性的、多样性的网状交织。艺术真理的唯一性解构也为艺术提供了一种新的哲学认知。

With the coming of the age of mechanical reproduction and the resulting disappearance of originality in artworks, "the essence of art" has become an important proposition in modern art theories. Walter Benjamin, Heidegger, and Merleau-Ponty discussed the essence of art respectively from the perspectives of aura, materiality, and the phenomenology that concerns the body, and put different interpretation on the essence of art of their own. This article reviews and examines the existing theoretical models from the perspective of cognitive history and epistemology and argues that the essence of art lies not in subjectivity but in the relations that define subjectivity, that this intersubjectivity determines the essence of art as continuous, fluid, diverse, and interweaving. The deconstruction of the uniqueness of artistic truth also provides a new philosophical perception of art.