从教化到解放:艺术自律论的华夏旅行纪略

From Cultivation to Liberation:The Theory of Artistic Autonomy in China

艺术自律论这一现代信念是文艺复兴至启蒙运动时期一系列的历史和文化事件以及形而上学的知识学传统等综合作用的产物。“美的艺术”观念是艺术自律论形成的关键机制。中国古典文化中也出现过审美伦理和形式自主意识,但是中国古代艺术哲学并不以“审美”为规定性制定艺术本体论,因此也就没有形成自足、自洽和自律性的艺术观念。大一统的社会结构模型阻止了社会实践场域的结构性分解,“二元对应式类比联想”的汉语思维方式抑制了形而上学的形式本体论,这些因素抑制了艺术自律论的生长。近代以来的西学东渐使得艺术自律论在五四时代蔓延于审美文化场,但是“救亡压倒启蒙”的悲情历史让自律性艺术始终未能取得主流地位。

The modern belief in the theory of artistic autonomy is the result of a series of historical and cultural events,along with the epistemological tradition of metaphysics from the Renaissance to the Enlightenment.The concept of fine arts is the key mechanism for the formation of the theory of artistic autonomy.Aesthetic ethics and formal autonomy also manifested in Chinese classical culture;however,ancient Chinese art philosophy did not adopt“aesthetic”as the criterion for formulating art ontology.Consequently,it did not develop the art concept of self-sufficiency,self-consistency and self-discipline.The unified social structure model prevents structural decomposition in the field of social practice,and the Chinese approach of“binary corresponding analogical association”inhibits metaphysical formal ontology.These factors impede the development of the theory of artistic autonomy.The eastward expansion of Western learning in modern times allowed the theory of artistic autonomy to spread in the field of aesthetic culture during the May Fourth Period.Still,the tragic history of“salvation overcoming enlightenment”prevented the art of autonomy from achieving mainstream status.