摘要
杜尚的艺术实践在对康德美学构成挑战的同时,又对其有某种继承性。天才一方面在制定规则,另一方面规则又是不可说的。规则不是供其他艺术家模仿的,而只具有对产生新规则的示范作用。对其他主体的不信任,杜尚自己制定艺术规则,崇尚创新和自由,但其想象力与知性并没有达到和谐的地步,斩断鉴赏力的传统,没有考虑到它的普遍性,只是一个未驯化的主体,所以作品争议不断。杜尚的现成品艺术,并非什么都可以。杜尚反对美,但不反对形式的精雕细琢。“艺术=美的艺术”是杜尚作品界定的误区,而层次性的艺术概念是消除此误区的关键所在。
Marcel Duchamp's artistic endeavors not only challenge Kantian aesthetics but also reflect a certain continuity with it.Duchamp embodies the paradox of the genius who both establishes and transcends indescribable rules.These rules are not templates for imitation by other artists but exemplars for the genesis of new norms.Driven by skepticism towards other agents,Duchamp crafted his own set of artistic principles,valuing innovation and autonomy.However,his venture did not achieve a harmonious integration of imagination and intellect,severing the traditional lineage of aesthetic appreciation without addressing its universality.This led to an untamed creative subjectivity,perpetually embroiled in controversy.Duchamp's ready-made art asserts that not everything qualifies as art.While Duchamp rebuffed the notion of beauty,he did not eschew meticulous formalism.The misinterpretation of Duchamp's oeuvre as“Art equals fine art”overlooks the nuanced levels of his artistic philosophy,where understanding the hierarchical nature of art concepts dispels such misconceptions.
出处
《文艺理论研究》
北大核心
2024年第3期121-130,共10页
Theoretical Studies in Literature and Art
基金
国家社科基金一般项目“本雅明与现代图像诠释学建构”[项目编号:21BZW068]阶段性成果。
