黑格尔论东方艺术的怪诞  

Hegel's Discussion on Grotesque of Eastern Art

作　　者：宋雄华[1] 

机构地区：[1]南京大学中文系,江苏南京210093

出　　处：《华中师范大学学报（人文社会科学版）》2004年第2期63-65,123,共4页Journal of Central China Normal University:Humanities and Social Sciences

基　　金：国家社会科学基金项目"东方美学范畴研究"(0 0 BZX0 43 )

摘　　要：黑格尔认为 ,东方艺术的怪诞 ,主要有三种表现形态 :将自然的成份与人类的成份不合理地混合在一起 ;极端和歪曲 ,过分与扭曲地表现对象 ;反自然地将事物的某一成份或作用予以极端重复或无限增多。黑格尔论东方艺术的怪诞 ,包含着不少真知灼见 ,但他认为东方艺术发展水平很低 ,怪诞难以理解 ,不能见出美来 ,这又是极为褊狭的。其实 ,怪诞在古今东西方艺术中都有表现 ,甚至是东方艺术的普遍手法和特色 ,具有坚实的现实基础和心理根源。Hegel thinks the grotesque of eastern art mainly ha s three patterns:mixing natural elements with human elements irreasonablely;displ aying an object excessively and distortedly;duplicating extremely or increasin g limitlessly an element or function of an object abnormally.Hegle's discussion on grotesque of eastern art includes some real knowledge and deep insight. But i t is very narrow that he thinks the development level of eastern art is low and is difficult to understand. In fact, there are grotesques in all kinds of art n o matter in west or east. Grotesque is even a common skill and distinguishing fe ature of eastern art. Grotesque has deep mental root and solid actual basis.

关 键 词：黑格尔 东方艺术 象征 怪诞 歪曲 任意拼凑 

分 类 号：J01[艺术—艺术理论]