丰子恺“大艺术观”的思想之源、直接抒写与间接影射  

Feng Zikai's“View of Great Art”:Its Source,His Direct Discussion and the Allusion Contained

作　　者：刘亚龙 齐悦[1] Liu Yalong;Qi Yue(School of Arts,Renmin University of China,Beijing 100872)

机构地区：[1]中国人民大学艺术学院,北京100872

出　　处：《嘉兴学院学报》2024年第4期36-42,共7页Journal of Jiaxing University

摘　　要：从丰子恺的生平与经历切入,探讨了丰子恺“大艺术观”的思想之源:受到竹久梦二与中国本土佛教思想及儒释精神的直接启蒙,同时,借鉴了康德、利普斯及闵斯特伯格等人的西方美学理论。从直接与间接两个维度,以“绝缘说”“情趣说”等观点为例,结合观看态度、观看旨趣、观看目的分析“大艺术观”的直接抒写,并从思想呈现与现实批判的角度,言明“大艺术观”对20世纪初中国思想界新貌和丰子恺反战思想的间接影射。Starting from Feng Zikai's life and experience,this paper explores the source of his“View of Great Art”.He was directly enlightened by Takehisa Yumeji,Chinese local Buddhist thought,and the combined spirit of Confucianism and Buddhism.At the same time,he drew inspiration from Western aesthetic theories from figures such as Kant,Lipps,and Minsterberg.From both direct and indirect dimensions,taking the concepts of“non-utilitarian theory”and“interest theory”for examples,combined with viewing attitude,viewing intention,and viewing purpose,we analyze his direct expression of the“View of Great Art”,and from the perspective of ideological presentation and realistic criticism,we point out the allusion contained in the“View of Great Art”to the new appearance of the Chinese intellectual world in the early 20 th century and Feng Zikai's anti-war thoughts.

关 键 词：丰子恺 大艺术观 竹久梦二 绝缘说 情趣说 西方美学理论 

分 类 号：J205.1[艺术—美术]