尼采的酒神经验与艺术的本性问题  

Nietzsche’s Experience of Dionysus and the Question of the Nature of Art

作　　者：院成纯[1] Yuan Chengchun(Beijing International Studies University,Beijing 100024,China)

机构地区：[1]北京第二外国语学院文化与传播学院哲学研究中心,100024

出　　处：《北京第二外国语学院学报》2025年第1期116-126,共11页Journal of Beijing International Studies University

基　　金：北京社会科学基金规划项目“中华文化‘生’的哲学的生存论研究”(项目编号:23ZXB004)的阶段性成果。

摘　　要：现代艺术失去了传统的规定因素,却尚未获得新的规定,这导致现代艺术作品往往显得奇异甚至荒诞。这种情况唤起人们对艺术本性问题的省思。尼采在现代视域中开辟了一条经由艺术批评进入原初生命状态的路径,回应了现代艺术的本性问题。他认为,在艺术创作中,艺术家丢弃了“主体”的身份,消融了主客二分的世界结构,进入了生命的原初层次,可以直面“虚无”、感受生命力的丰盈状态,从而获得陶醉的酒神经验,正是在这一过程中,酒神经验得以进入艺术作品,并作为艺术的本性显现出来。Modern art has lost its traditional determining factors and has not yet obtained new ones,which makes modern works of art often seem strange and even absurd;this situation has repeatedly evoked reflections concerning the nature of art.Nietzsche opened a path to the original state of life through art criticism from the modern perspective by responding to the question regarding the nature of modern art.Nietzsche believed that,in the process of creating art,the artist discarded their identity as a“subject”,dissolved the world structure of subject-object,and entered the original level of life in order to encounter the“nothingness”directly and to feel the abundance of vitality in order to gain the intoxicating experience of Dionysus.Nietzsche pointed out that it was in this very process that the experience of Dionysus was able to enter the work of art and to manifest itself as the nature of art.

关 键 词：现代艺术 低级感性 虚无主义 陶醉 酒神经验 

分 类 号：B516.47[哲学宗教—外国哲学] H3[语言文字]