摘要
作为人文科学的中国美术批评研究面对两大基础课题:1、中西美术文化的差异;2、古典美学与现代美学的对话。两大课题所衍生的种种问题呈现于20世纪以来的中国美术批评实践与研究文本中。从"作者·作品·观者·世界"四方关系切入对中西美术文化比较背景中的批评思维特点提炼,从"意象·意境"范畴的古今语用现象分析中展开对当代批评的美学意识批判,再审视中国美术批评研究所面临的本体论建设问题。
The Chinese fine arts criticism, as a human science, is faced with two major basic tasks： 1. The culture differences between Chinese fine arts and western fine arts;2. The dialogue between classical aesthetics and modem aesthetics. A variety of problems stemmed from the two major tasks come to surface in the critical practice and research texts of Chinese fine arts since the 20^th century. In this paper, Refining from the characteristics of critical thoughts from the background comparison between Chinese fine arts culture and that of the western, which takes the relationship among ＂ authors,works,viewers and the world＂ as the starting point. Combined with the analysis of phenomena of language application in ancient and modem times of ＂ image, imagery＂ gives an exhibition of the criticism on the aesthetic consciousness of modem critique. Then, this paper focuses on the issues in the establishment of ontology, with which the research in Chinese fine arts criticism is confronted.
出处
《艺术百家》
北大核心
2009年第5期88-93,共6页
Hundred Schools In Arts
关键词
艺术理论
艺术创作
美术批评
中西比较
文化自觉
Fine arts criticism
Comparison between Chinese and western
Cultural consciousness
