"艺术生活"与"同情":宗白华艺术人生观的建构中心及路径
"Artistic Life"and"Sympathy":The Central Theme and the Pathway of Zong Baihua's Views on Artistic Life
李祎罡1
作者信息
- 1. 中国传媒大学艺术研究院,北京 100024
- 折叠
摘要
"艺术人生观"与"同情"是宗白华在20世纪20年代提出的命题与概念,随着其思想理论的推进,"同情"逐渐成为宗白华美学思想的核心范畴之一,并在建构艺术人生观中具有了非常重要的作用.宗白华以"同情"为中心,分别从艺术人格、人生态度、审美境界三个层面,以艺术人生观为主旨进行建构."同情"推动了艺术人格从"小己"到"大我"的塑造;形成了"悲剧""幽默"两种人生态度;创构出"身入化境"的审美境界.宗白华的同情观与艺术人生观之间的张力互构关系,不仅在其美学思想理论中具有突出地位,同时作为宗白华生命践履的信念,也为中华美学精神从学理向实践的推进提供了一条切实可行的路径.
Abstract
The concepts of"view on artistic life"and"sympathy"were proposed by Zong Baihua in the 1920s.As his the-oretical thought progressed,"sympathy"gradually became one of the core categories of Zong Baihua's aesthetic thought,playing a highly positive role in shaping his view on artistic life.Centered around"sympathy",Zong Baihua constructed his view on artistic life from three aspects:artistic personality,life attitude,and aesthetic realm.Indeed,"sympathy"promotes the transformation of the artistic personality from the"small self"to the"greater self",forming two life attitudes—"trage-dy"and"humor",and creating the aesthetic realm of"entering a transcendent state".The tension and mutual construction between Zong Baihua's views on"sympathy"and his views on artistic life not only hold a prominent place in his aesthetic theory but also serve as a belief guiding his life practices,providing the general public with a practical pathway to advance the art of life from theoretical understanding to practical application.
关键词
宗白华/同情/艺术人生观/艺术人格/人生态度/审美境界Key words
Zong Baihua/"sympathy"/views on artistic life/artistic personality/life attitude/aesthetic realm引用本文复制引用
出版年
2024
NETL
NSTL
万方数据