《淮南子》造物艺术批评思想研究  

Research on Creation Art Criticism Thought of Huainan Zi

作　　者：吴新林 WU Xin-lin(School of Fine Arts,Taizhou University,Taizhou,Jiangsu 225300)

机构地区：[1]泰州学院美术学院,江苏泰州225300

出　　处：《艺术百家》2020年第2期47-53,108,共8页Hundred Schools In Arts

基　　金：2017年度教育部人文社会科学研究基金青年项目“先秦诸子造物艺术批评思想比较研究”(项目编号:17YJC760099)阶段性成果之一。

摘　　要：《淮南子》的艺术批评思想,体现了人与自然的和谐观念,把握了物质文化审美的动态特征,其"美丑有间""不役于物""因时变而制宜"等思想观念超前,对于当今的艺术学理论学科建设具有重要的现实意义。同时,《淮南子》在认识论上又具有一定的时代局限性:其一,就政治而言,欲使帝王达到清静无为的忘我状态,这无疑是难以实现的理想;其二,就艺术而言,其消极性主要表现在忽视了个体的精神需求,仅强调有必要的"同心而乐",而抑制了个体(包括统治者自身与民众)的价值追求。在造物艺术方面,《淮南子》中的"道""器""技"浑然一体,"道"的内敛与超然限制了"技"的张扬与繁缛,进而决定了"器"的节俭实用及其外饰的质朴。《淮南子》既蕴含了由"美丑有间"的美丑观、"文不胜质"的文质观、"变古易常"的礼乐观和"移风易俗"的风尚观所共同构筑的艺术审美观,还体现了丰富的造物主体观、消费主体观和设计价值观,从而得以从宏观上把握了物质文化审美的动态特征,客观形象地反映了民本的造物艺术批评思想。In the art of creation,the " Tao", " device" and " technique" in Huainan Zi were inseparable,the restrained and transcendent " Tao" limited the publicity and harassment of " technique",and it decided that the device design was practical and simple. " Huainan Zi" not only contained artistic aesthetics which was built by the beauty and ugliness view of " beauty and ugliness are different",the external and essential view of " essential is more important than external",the ritual and music view of " changing ancient rule and convention" and the fashion view of " changing the custom",but also reflected rich concepts on creation subject,consumption subject and design values. It grasped the dynamic characteristics of material culture and aesthetics,and reflected the people-oriented thought of creation art criticism.

关 键 词：艺术理论 《淮南子》 造物艺术 艺术批评 思想 

分 类 号：J0[艺术—艺术理论]