可识别与不可识别:关于艺术本体论问题的争论  

Discernibility or Indiscernibility:Debates on the Ontology of Art

作　　者：彭锋[1] Peng Feng

机构地区：[1]北京大学艺术学院

出　　处：《哲学研究》2024年第1期115-124,126,共11页Philosophical Research

摘　　要：在当代艺术哲学中,古德曼以强调艺术作品的可识别性著称。丹托则针锋相对,提出决定某物之为艺术的东西是不可识别的理论。马戈利斯另辟蹊径,指出丹托和古德曼犯了同样的错误,都是在二分的本体论框架中来处理艺术身份问题。马戈利斯认为,艺术身份问题的妥善解决需要一种突破二分本体论框架的文化实在论或文化形上学,这一主张使其与中国哲学和美学的对话成为可能。In contemporary philosophy of art,Nelson Goodman is famous for emphasizing the perceptual discernibility of artworks.Arthur Danto,on the contrary,declares that what determines something to be art is rather an atmosphere of theory which cannot be discerned by the senses.In a diametrical opposition to these two philosophers,however,Joseph Margolis points out that Danto and Goodman made the same mistake by identifying the ontological status of artworks within a dichotomous ontological framework.Margolis believes that we need a cultural realism or metaphysics instead which can break that dichotomous framework and therefore deal with the ontology of artworks in an appropriate manner.In this sense,a dialogue between Margolis'theory of art and the traditional Chinese philosophy as well as aesthetics seems to be possible,given that the ontological framework provided by the latter is not dualistic,but either trialistic or monistic.

关 键 词：艺术本体论 古德曼 丹托 马戈利斯 中国美学 

分 类 号：B835.5[哲学宗教—美学]