美的概念分析与批评话语的重建

Analysis of Concept Beauty and Reconstruction of Critical Discourse

从柏拉图的古典美学传统到鲍姆嘉通的现代美学传统,西方美学研究的中心经历了从“美”到“审美”的转移,对“美”这一概念的认识也从认知意义转向评价意义。受本质主义思维的影响,哲学家们总是试图兼顾二义,为“美”找到一个周全的定义。这种思维造成了“美”这一概念的含混与模糊,进一步造成了“美”在艺术批评领域被误用、滥用甚至无用的现状。因此随着20世纪美学理论与艺术批评的交叉相融,要想重建艺术批评的理论话语,不仅要对艺术品的美丑进行评价,更重要的是对其为何美丑做出描述与解释。对此,一些分析美学家的理论值得去借鉴与反思。

From Plato’s classical aesthetic tradition to Baumgarten’s modern aesthetic tradition,the center of west⁃ern aesthetic research has experienced a shift from beauty to aesthetics,and the cognition of the concept of beauty has also shifted from cognitive significance to evaluation significance.Influenced by essentialist thinking,philosophers al⁃ways try to balance the two meanings and find a comprehensive definition of beauty.This kind of thinking leads to the vagueness of the concept of beauty,and further leads to the current situation that beauty is misused,abused or even useless in the field of art criticism.Therefore,with the integration of aesthetics theory and art criticism in the 20th century,to reconstruct the theoretical discourse of art criticism,it is necessary not only to evaluate the beauty and ugliness of artworks,but also to describe and explain why they are beautiful and ugly.To this,the theory of a few an⁃alytic esthetician is worth our reference and reflection.