艺术谱系与中国国家意识的起源--岑家梧民族艺术研究探析  

The Lineage of Art and the Origin of Chinese National Consciousness:An Analysis of Cen Jiawu's National Art Research

作　　者：胡馨月[1,2] HU Xinyue

机构地区：[1]国家民委贵州师范大学多民族文化融合与区域发展研究基地 [2]贵州师范大学国际旅游文化学院,贵阳550025

出　　处：《西北民族研究》2024年第3期55-67,共13页Journal of Northwestern Ethnic Studies

基　　金：教育部人文社会科学研究项目“喀斯特多民族地区社会时间耦合机制研究”(编号:23YJC850003);国家民委贵州师范大学多民族文化融合与区域发展研究基地及贵州师范大学铸牢中华民族共同体意识研究基地2023年度课题招标项目“中华文化整体观与岑家梧贵州民族研究”(编号:2023YB02)的阶段性成果。

摘　　要：岑家梧的艺术研究实际上同中国古典文明的“时空制度”与艺术的关系有关,他开创了国家意识起源与艺术起源关系的研究路径,这一研究路径继承自蔡元培和陈中凡关于艺术有文化启蒙和文化自觉作用的探索。岑家梧在西南的田野研究中以艺术谱系论证中华民族和中华文化的形成与发展,形成“实践性、科学性、有机综合”的中华文化整体论;同时认为艺术的社会性不仅来源于艺术是社会的反映,亦来源于艺术构建社会的本质,因此中华民族艺术既是民众生活的呈现,亦是中华民族文化的组成部分。岑家梧在美学范畴基础上提出以“多样的统一”实现尽善尽美地构建中国民族学之设想。Cen Jiawu's art research is related to the relationship between the“Timespace Regime”of Chinese classical civilization and art,he created a research path of the relationship between the origin of national consciousness and the origin of art.This research path inherits from Cai Yuanpei and Chen Zhongfan's exploration of art as cultural enlightenment and cultural awareness,and demonstrates the formation and development of the Chinese nation and Chinese culture through the lineage of art in its field studies in southwest China,forming a holistic view of Chinese culture that is“practical,scientific and organically integrated”.It also holds that the sociality of art not only comes from being a reflection of society,but also from the nature of its construction of society.Therefore,Chinese national art is not only the presentation of people's life,but also the composition of the Chinese nation.Based on aesthetic category,it puts forward the idea of constructing“Chinese ethnology”with the“unity of diversity”to achieve“perfection”.

关 键 词：岑家梧 民族艺术 时空制度 文化自觉 中国民族学 

分 类 号：C95[社会学—民族学]