康德的手工艺美学观新解  

A New Interpretation on Kant s Handicraft Aesthetics

作　　者：关晓辉[1] GUAN Xiao-hui(College of Arts,South China Agricultural University,Guangzhou 501642,China)

机构地区：[1]华南农业大学艺术学院,广东广州501642

出　　处：《美育学刊》2021年第3期72-76,共5页Journal of Aesthetic Education

摘　　要：一般认为,康德和其他美学家一样贬低手工艺的美学价值,事实上,康德将手工艺和艺术同时置于“依附美”范畴之下,并认为两者的美学价值无高低之分。首先,作为“目的性概念”的功能是规定手工艺美学判断的前提,满足功能才会促成审美快感的发生。其次,手工艺形式必须配合功能,才能更完满地实现预设目的。康德的手工艺美学观给我们的启发是,手工艺具有实用性之外的意义阐释空间,它可以为观众提供反思和沉思的契机,打开一个美学沉思的领域。It is generally acknowledged that Kant looked down on the aesthetic value of handicraft like other aestheticians,but this is a misunderstanding.In fact,Kant put handicraft and art under the category of“dependent beauty”,and thought that there was no difference in aesthetic value between them.First of all,the function of the“purposeful concept”is the premise of the aesthetic judgment of handicraft,and the satisfaction of the function can promote the occurrence of aesthetic pleasure.Secondly,the handicraft form must cooperate with the function in order to achieve the preset goal more perfectly.Kant s aesthetic view of handicraft inspires us that handicraft has the meaning interpretation space beyond its practicability.It can provide the audience with the opportunity to reflect and ponder,and open a field of aesthetic meditation.

关 键 词：康德 手工艺美学观 依附美 功能 形式 

分 类 号：B83[哲学宗教—美学]