18世纪法国艺术评论中的“业余爱好者”概念及其争论  

The Concept of“Amateur”and its Controversies in French Art Criticism in the 18th Century

作　　者：杨宇婷 Yang Yuting(Centre André-Chastel(French Ministry of Culture/CNRS/Sorbonne University))

机构地区：[1]法国安德烈·沙斯特尔艺术史中心

出　　处：《美术》2025年第4期120-128,共9页Art Magazine

摘　　要：本文探讨18世纪法国艺术评论中“业余爱好者”(amateur)概念的演变及其引发的合法性争议。随着卢浮宫沙龙的开放化,艺术评判权从皇家学院的垄断领域转入业余爱好者主导的公共领域。通过重构术语体系和开展元批评实践,业余爱好者以沙龙小册子为武器,将私人审美升华为“公众呼声”,利用启蒙理性为批评赋权,从而将自身塑造为兼具感性体验与公共责任的主体。这场斗争重塑了18世纪艺术生态,也预示着现代艺术批评的核心问题,即如何在开放性与专业性间寻求动态平衡。This article examines the evolution of the concept of“amateur”and debates over its legitimacy in French art criticism in the 18th Century.The openness of the Salon du Louvre enabled art judgement to be shifted from the monopoly of the Royal Academy to a public sphere dominated by amateurs.By rebuilding terminological systems and engaging in meta-criticism,amateurs used pamphlets as tools to turn private aesthetics into a“public voice”and empowered criticism with the rationality of Enlightenment.They were thus individuals with both sensory experience and public responsibility.This struggle reshaped art ecology in the 18th Century and also foreshadowed the core issue of modern art criticism,namely to seek a dynamic balance between openness and professionalism.

关 键 词：业余爱好者 卢浮宫沙龙 18世纪法国艺术评论 艺术史 

分 类 号：J110.92[艺术—艺术理论]