身体与阴影——黑格尔对于艺术思考的二重性  

Body or Shadow:The Ambiguity of Hegel's Thinking on Art

作　　者：李钧[1] Li Jun

机构地区：[1]复旦大学中文系,上海200433

出　　处：《复印报刊资料（美学）》2021年第6期72-83,共12页Aesthetics

基　　金：上海市哲学社会科学基金规划课题一般项目“走出美学:黑格尔整体思想视野下的美学思想再研究”(项目批准号:2017BWY008)的研究成果。

摘　　要：黑格尔对于艺术有双重看法:一方面他根据艺术的独特性来构建艺术,形成了以“身体”为特征的古典型艺术理论,艺术史成了古典型艺术发生与解体的过程;另一方面,他又根据艺术的概念对艺术进行全面考察。在这个考察中,艺术内容突破了狭义的艺术范围,延伸到宗教和哲学,显示了宽广的生命力。与此同时,艺术形式也达到对于“显现”的超越,以时间性的“阴影”为更高形式,在精神的“回忆”中成为历史性的“画廊”,以表达更深的内涵。这种广义的思考,是黑格尔艺术哲学中更复杂、更深刻的地方,表现了他的思想对于现代艺术的前瞻性意义。Hegel has an ambiguous view of art.On the one hand,he constructed art based on the peculiarity of art,and formed a Classical Art theory characterized by"body."Art history has become a process of the emergence and disintegration of Classical Art.On the other hand,he conducts an all-round investigation of art based on the concept of art.In this aspect,the content of art went beyond the narrower sense,extended to regions of religion and philosophy,and showed broad application and continuing life.At the same time,the art form has also reached the transcendence of"appearance,"taking the temporal"shadow"as a higher form,becoming a historical"gallery"in"recollection"of the Spirit to express deeper connotations.This kind of wider thinking is a more complicated and profound part of Hegel's art philosophy,and it shows the forward-looking significance of his thoughts for modern art.

关 键 词：黑格尔 艺术 身体 阴影 画廊 

分 类 号：G63[文化科学—教育学]