马克思对费德勒艺术科学奠基的兼容与超越  

Marx’s Compatibility and Transcendence of Fiedler’s Foundationsof the Science of Art

作　　者：尹德辉 Yin Dehui(the School of Arts,Shandong University,Shandong,250100)

机构地区：[1]山东大学艺术学院,山东济南250100

出　　处：《民族艺术研究》2024年第4期124-131,共8页Ethnic Art Studies

基　　金：2023年度山东大学中华民族现代文明建设研究计划重大项目“习近平文化思想中的文艺论述与中国式现代艺术创新发展研究”(项目批准号:23RWZX03)的阶段性研究成果。

摘　　要：在西方艺术思想史中,康德通过审美判断力批判确立了感性存在的“美”,再在技艺的分类中确立了“美的技艺”,即现代的艺术观念。之后,费德勒在视觉艺术研究中以艺术的本质为核心,用艺术的创造论替代了源自古希腊的模仿论;同时提出了艺术研究的独立性问题,开启了艺术的科学和学科化进程。但是,由于哲学基础的原因,费德勒的艺术研究并不充分,而且艺术的感性和情感特征,也决定了理性和思辨在艺术研究中的局限性。马克思在“劳动”的现实哲学基础上,以受生产的普遍规律支配的“艺术生产论”兼容且超越了被费德勒限定在视觉中的“艺术创造论”,为艺术本质的阐明和艺术的学科化奠定了更完善的科学基础。In the history of Western art thought,Kant established the“beauty”of sensual existence through the critique of aesthetic judgment,and then established the“Fine arts”in the categorization of skills,which is the modern concept of art.Afterwards,Fiedler took the essence of art as the core in the study of visual art,and replaced the imitation theory originated from ancient Greece with the creation theory of art.At the same time,he raised the issue of the independence of art research,and started the process of the science of art and the disciplining of art.However,due to the philosophical foundation,Fiedler’s art research was not sufficient,and the sensual and emotional character of art also determined the limitations of reasoning and discernment in art research.On the basis of the realistic philosophy of“labor”,Marx’s“theory of the production of art”,which is governed by the universal law of production,is compatible with and transcends the“theory of artistic creation”,which Fiedler confined to visual art,providing the scientific foundation for the clarification of the essence of art and the disciplining of art.

关 键 词：艺术的本质 创造论 艺术的生产 艺术学 

分 类 号：J0-02[艺术—艺术理论]