科耶夫与康定斯基  

Kojève and Kandinsky

作　　者：肖琦[1] 

机构地区：[1]华东师范大学历史系

出　　处：《俄罗斯文艺》2018年第1期135-141,共7页Russian Literature & Arts

基　　金：上海市社科规划青年课题"法兰西第三共和国的共和危机--以知识精英的讨论为核心(1919-1939)"(2017ELS005)的阶段性成果

摘　　要：俄裔哲学家科耶夫与画家康定斯基叔侄二人在十月革命爆发后先后离开苏维埃俄国,流亡德国与法国。他们在1929-1944年间的通信[1](1)反映出二人在这段时间里的生活、学习和工作经历以及他们对俄国革命的看法。他们就艺术问题展开的讨论影响到各自正在进行的理论探索。康定斯基受到科耶夫的影响,用"具体绘画"取代"抽象绘画"这一名称来指称自己的创作。在科耶夫对艺术本质与贵族风尚的思考中,他先是认为艺术所带来的审美快乐是抽象的,不是人所特有的,后来又认为艺术可以成为一种重要的否定性,成为使人区别于动物的形式价值。应该说,康定斯基作为艺术家的经历及他的创作本身都为科耶夫提供了重要的反思资源。The French Russian painter Kandinsky and the French Russian philosopher Kojéve are uncle and nephew. After the revolution of 1917, they left the Soviet Union one after another, firstly moved to Germany then to France. Their correspondence during the year 1929-1944 reflects their living and working experiences as well as their reflections toward the Russian revolution. Their discussions about art affect their theoretical explorations. Influenced by Kojéve, Kandinsky refers to his own artistic creations as concrete painting instead of abstract painting. And in Koijére＇ s thinking of the nature of art and of snobbery, he once thinks that the aesthetic happiness brought by art is abstract, is not peculiar to mankind, and later he believes art can be an important negativity, can be a formal value which distinguishes human beings from animals. It should be said that Kandinsky＇ s working experience as an artist and his creations provide important resources for Kojére＇ s philosophical reflections.

关 键 词：科耶夫 康定斯基 具体绘画 抽象绘画 贵族风尚 

分 类 号：B565.59[哲学宗教—外国哲学] J205[艺术—美术]