器物“陈设”美育功能的中西方思想述论  

The Aesthetic Education Function of the Exhibiting of Artifacts in Chinese and Western Thoughts

作　　者：李钧[1] Li Jun

机构地区：[1]复旦大学中文系

出　　处：《社会科学辑刊》2022年第6期162-169,共8页Social Science Journal

基　　金：上海市哲学社会科学基金规划课题(2017BWY008)。

摘　　要：人对于器物进行陈设,是一种将物艺术化的行为,含有将器物抽离其具体的功用性。将物转化为在一个更大的联系中的环节形态,使其脱离有限目的,但是带着历史性的内涵,成为一种超功利性的“长物”,表达更深的存在意蕴,这种意蕴就是世界存在的本体性建构行为。对于这种艺术化的转化与形成过程,黑格尔有深度表述,海德格尔也在“艺术作品的本源”思想里表达了类似思想;中国审美理论中,王国维的“古雅”说、董其昌的“藉物”说以及赵希鹄、高濂等人的著述中也有类似的思想。中西思想均关注到陈设行为在艺术建构及生活美育中的作用,艺术化的器物及其陈设,给人带来对于世界的整体性和历史性的领悟,从而给人带来审美的享受和精神境界的提升。Exhibiting is a transformative use that makes artifacts to be artworks.It takes the artifacts out of their utility and limited purpose,puts them into a larger connection and gives them a historical context,thus bringing them into a kind of super-utilitarian“Chang Wu”(superfluous things)expressing a deeper meaning of Existence.Exhibiting thus becomes an act of ontological construction of the existence of the world.This kind of artistic process of transformation has been expressed in depth by Hegel and similarly by Heidegger in his“The Origin of the Work of Art”.In ancient Chinese Aesthetic theories,similar ideas can be found in Wang Guowei’s concept of“Gu Ya”(elegance of antiquity),Dong Qichang’s concept of“Ji Wu”(straw cushion)and also in the works of Zhao Xigu and Gao Lian.Both Chinese and Western thoughts pay close attention to the function of display behavior in art construction and life aesthetic education.Artistic objects and their display bring people’s understanding of the wholeness and the history of the world,so as to bring people’s aesthetic enjoyment and spiritual realm promotion.

关 键 词：生活美育 座架 艺术本源 古雅 长物 

分 类 号：B83[哲学宗教—美学]