论民间艺术融入性审美的三重逻辑  

On the Triple Logics of the Engagement of Folk Artin Aesthetic

作　　者：李瑛 Li Ying(the School of Computer Science and Technology,Shan-dong Technology and Business University,Yantai,Shandong,264000)

机构地区：[1]山东工商学院计算机科学与技术学院,山东烟台264000

出　　处：《民族艺术研究》2023年第2期91-100,共10页Ethnic Art Studies

基　　金：山东省社会科学规划研究项目“鲁绣艺术知识库建设及其数字化创新设计研究”(项目批准号:22CWYJ15)的阶段性研究成果。

摘　　要：民间艺术非正统的美学地位使其审美价值饱受争议,反传统的西方分离式审美导致学界难以找到对民间艺术进行审美评价的有效方式。从民间艺术的生活性来看,融入性审美切中其实用性、民俗性和兼容性特质,因而能提供一种适切的美学评价方式。依托海德格尔关于艺术本源的生成理论和存在论真理观,可探寻民间艺术的艺术本质及其融入性审美的存在规律。具体来说,民间艺术融入性审美包含三重逻辑,即“用”“美”一体的本源逻辑、化“风”为“俗”的生成逻辑和返“朴”归“真”的实践逻辑。其价值在于展现艺术与生活的“亲近”之美,发掘其更深层次的审美“道”义。The unorthodox aesthetic status of folk art has caused dispute over its aesthetic value,and the antitraditional Western aesthetic separation makes it difficult to find an effective way to evaluate folk art.From the aspect of the life of folk art,the engaged aesthetics is embodied with the characteristics of practicality,folklore and compatibility,so it can provide a suitable way of aesthetic evaluation.Based on Heidegger\s generative theory and ontological truth view on the origin of art,we can explore the artistic essence of folk art and the existence law of its integration with aesthetics.Specifically,the engagement of folk art with aesthetics contains three logics:the original logic of“use”and“beauty”,the generative logic of turning“trend”into“vulgarity”and the practical logic of returning“simple”to“true”.Its value lies in the showing of the“intimate”beauty of art and life,as well as the exploring of its deep aesthetic“Tao”meaning.

关 键 词：民间艺术 融入性审美 审美情境 亲近之美 

分 类 号：J01[艺术—艺术理论]