由“用”到“体”:神经美学的艺术理论新文科实践

From “Yong” (Method) to “Ti” (Essences): Art Theory of Neuroaesthetics as the Practice of the New Liberal Arts

“新文科”概念的提出虽新,但“新文科”本身的理念却有着悠久的传统,仍为“人文”之惯性。神经美学作为一种跨学科研究,兴起时是“新理科”的,但在发展过程中却转化成为典型的“新文科”实践。神经美学以“自然”作为视野和方法,考察艺术审美感知在“物理、生理与心理”三个层面的特异性,其悠久的艺术心理学传统,成为神经美学得以对艺术理论进行拓展与深化的学科立场。“动作想象”是审美体验的核心能力,情感与认识均是通过动作想象来完成的,在“有意味的形式”之中,“意味”与“形式”之间并不是一种线性关系,而是一种并置的同构关系。神经美学之所以能够由一种方法之“用”,实现理论之“体”的建构,正是因为契合了对艺术本质的阐释。

Although the concept of“new liberal arts”has been newly proposed,the idea of“new liberal arts”itself has a long tradition and remains as the internal attributes of“humanities”.As an interdisciplinary research,Neuroaesthetics emerged as a“new science”,and yet in its development,it has transformed into the practice of a typical“new liberal arts”.Taking“nature”as its perspective and method,neuroaesthetics examines the distinctness of artistic perception from three aspect of“physics,physiology,and psychology”.Its long-standing tradition of artistic psychology has become a disciplinary stance for neuroaesthetics to expand and deepen artistic theory.“motor imagery”is the core ability of aesthetic experience as the emotion and the cognition are completed through it.In the“significant form”,the relationship between“significant”and“form”is not a linear relationship,but a juxtaposed isomorphic relationship.The reason why neuroaesthetics can achieve the construction of the theoretical“essences”through the“uses”of a method is precisely because it aligns with the interpretation of the artistic essence.