装饰:抵抗异化的民主工具—论威廉·莫里斯的马克思主义艺术观

Ornament:A Democratic Tool to Resist Alienation:On William Morris’s Marxist View of Art

在马克思主义理论中,审美愉悦是否发生在作为基础的物质生产之后这一问题,引发了诸多讨论。威廉·莫里斯在马克思的资本主义社会的异化概念基础上,通过关注工人的感官能力的阻塞问题,表明了艺术在抵制劳动过程的异化方面,为解放工人的感官知觉所能创造的可能性。装饰设计作为一种艺术形式,既服务于生产者和消费者的欲望和需求,又能够给他们带来审美愉悦,即具备一种在生产和生活中激活人们对功能性物品的审美反应的“及物功能”。莫里斯将装饰作为社会变革的民主工具,竭力实现劳动生活和日常生活的审美化。莫里斯极具创造力的艺术观念丰富了早期马克思主义艺术理论,其社会实践也对现代工艺设计运动和推进社会改良产生了深刻影响。

In Marxist theory,the question of whether aesthetic pleasure occurs after basic material production has sparked many discussions.Based on Marx’s concept of alienation in capitalist society,William Morris focuses on the problem of the obstruction of workers’sensory capacities and demonstrates the possibility that art can resist the alienation of the labor process and liberate workers’sensory perception.Ornament,as a form of art,serves the desires and needs of producers and consumers while also providing them with aesthetic pleasure.In other words,it has a“transitive function”that provokes people’s aesthetic re-sponse to functional objects in the living and working activity.Morris regards ornament as a democratic tool for social change,striving to realize the aestheticization of production and daily life.Morris’s creative artistic theory enriched early Marxist art theory,and his social practice had a profound impact on the modern craft and design movement and the promotion of social change.