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本体论问题始终是艺术发展无法跳越的门槛,在当代仍是如此。它摆脱了康德以来的美学传统,把艺术本体从“美”的领域拉到“真”的领域,从而酝酿了一场关于艺术本体论的转向。与历史上曾经发生的转向不同,当代这一转向以一种潜叙事状态运行。这一转向主要表现在两个方面。第一是对感性的重估和强调,这为“转向”奠定了理论基础,并对真性转向的含义作了定位。第二是对“存在”的重新发现和高度重视,这为“转向”问题提供了理论主干。当代艺术真性转向秉着一种“重估”和发现的精神,在理论上颇多创意和建树,值得深思。
The issue of ontology has always been the threshold for the development of the arts that can not be skipped. It remains the same in modern times. It has freed itself from the aesthetic tradition of Kant and has drawn the ontology of art from the field of “beauty ” to the field of “truth ”, thus brewing a turn for the art ontology. Unlike what has happened in history, the transition to the present runs in a subtle narrative. This shift is mainly manifested in two aspects. The first is the revaluation and emphasis on the sentiment, which lays the theoretical foundation for the “turning ” and positions the meaning of the turning of the real. The second is the rediscovery and high priority of “existence ”, which provides the theoretical backbone for the “shift ” issue. The true nature of contemporary art is turning to a kind of “revaluation” and the spirit of discovery. In theory, many ideas and achievements are worth pondering.