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新世纪以来我国艺术呈现的畅旺发展景象再度唤醒了对中华民族艺术精神的探讨热情,特别是2011年以来艺术学理论一级学科的设立,使如何建构中国特色的艺术理论体系成为一个紧迫的命题,随之,中华民族艺术传统观念或固有之艺术精神将以什么样的方式和地位纳入这一体系之中,亦成为萦绕在业界人士脑海的挥之不去的“思念”。北京大学王一川教授近期发表几篇论文集中反思“中国艺术精神”的现代转换问题,其中关于宗白华、徐复观、李泽
Since the new century, the flourishing development of Chinese art has once again aroused enthusiasm for the exploration of the artistic spirit of the Chinese nation, especially since the establishment of the first-level discipline of art theory since 2011, which has made pressing the issue of how to construct an art theoretical system with Chinese characteristics Then, what kind of ways and status will be incorporated into the system by the Chinese traditional artistic concepts or the inherent artistic spirit has also become a lingering “miss” lingering in the minds of people in the industry. Professor Wang Yichuan, Peking University, recently published several papers focused on the reflection of the “Chinese Spirit of Art,” the modern conversion issues, including Zong Baihua, Xu Fuguan, Li Ze