中国艺术理论之源:《二十四史》“艺术列传”
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摘要
《二十四史》"艺术列传"是中国艺术理论之"源"而不是"流",是立本之源;西方的"Art"是"流"而不是"源"。同时,艺术学与其他人文学科之间也存在着源流的问题。在不少艺术理论的研究中,源流不分,乃至把流当作源,如此一来便偏离了艺术理论的研究方向。倘若艺术学理论不以艺术本身为基础和逻辑起点,不是建立在音乐学、美术学、舞蹈学等理论研究的基础上进行综合的、整体的和宏观的艺术理论研究,而是把艺术外围学科或理论作为基础或作为"源",从概念到概念的推论便会形成所谓的"概念游戏",表面上看理论性很强,实则早已偏离了艺术本身,成为无源之流。不仅如此,还使"艺术学理论"这个一级学科本身受到不应有的质疑,诸如解决不了艺术问题,回答不了艺术现象,深入不到艺术规律中去探讨艺术的共性问题和艺术原理问题。因而,弄清"源""流"问题是中国艺术理论建设的先决条件。
The"collected biographies of arts"of Twenty-four Histories is the"origin"of Chinese art theory,rather than the development of it. The "art"in the West is the "development"rather than the "origin". At the same time,the issue of origin and development also exists in other humanities disciplines. In many studies of art theory,origin and development are not well distinguished,even development is regarded as origin,thus,the direction of art theory is dis-oriented. If art theory studies is not based on art as a logical starting point,is not a comprehensive,integrated and macro theoretical study which is based on the theoretical studies of music,fine arts and dance,it will take outside disciplines or theories as basis or "origin"and form a"conceptual game"from concept to concept. Thus,art theory studies will become a development without the origin so that it diverges from art,although the theory looks strong. Moreover,the first-level discipline"art theory studies"will unnecessarily be questioned,such as it cannot address the issue of art,it cannot answer the phenomenon of art and it cannot go deeper into the artistic rules to discuss common issues and principle artistic questions. Therefore,identification of "origin"and "development"is the prerequisite of the construction of Chinese art theory.
The"collected biographies of arts"of Twenty-four Histories is the"origin"of Chinese art theory,rather than the development of it. The "art"in the West is the "development"rather than the "origin". At the same time,the issue of origin and development also exists in other humanities disciplines. In many studies of art theory,origin and development are not well distinguished,even development is regarded as origin,thus,the direction of art theory is dis-oriented. If art theory studies is not based on art as a logical starting point,is not a comprehensive,integrated and macro theoretical study which is based on the theoretical studies of music,fine arts and dance,it will take outside disciplines or theories as basis or "origin"and form a"conceptual game"from concept to concept. Thus,art theory studies will become a development without the origin so that it diverges from art,although the theory looks strong. Moreover,the first-level discipline"art theory studies"will unnecessarily be questioned,such as it cannot address the issue of art,it cannot answer the phenomenon of art and it cannot go deeper into the artistic rules to discuss common issues and principle artistic questions. Therefore,identification of "origin"and "development"is the prerequisite of the construction of Chinese art theory.
引文
(1)(南朝·宋)范晔、(唐)李贤等注:《后汉书》(四册),北京:中华书局,1974年版,第215页。
(1)(南朝·宋)范晔、(唐)李贤等注:《后汉书》(四册),北京:中华书局,1974年版,第898页。
(2)鲁迅:《拟播布美术意见书》,《鲁迅全集》(第8卷),北京:人民文学出版社,1981年版,第47页。
(1)(南朝·宋)范晔、(唐)李贤等注:《后汉书》(四册),北京:中华书局,1974年版,第898页。
(2)(清)赵尔巽等:《清史稿》(4册),北京:中华书局,1998年版,第3548页。
(3)李倍雷:《〈二十四史〉“艺术列传”是建构中国艺术理论学术话语的基础》,《贵州大学学报》(艺术版),2018年第6期。
(1)张道一:《应该建立“艺术学”》,《张道一文集》,合肥:安徽教育出版社,1999年版,第11页。
(1)(北齐)魏收:《魏书》(六册),北京:中华书局,1974年版,第1943页。
(2)杨伯峻译注:《论语译注》,北京:中华书局,1980年版,第200页。
(3)(北齐)魏收:《魏书》(六册),北京:中华书局,1974年版,第1972页。
(4)(唐)房玄龄:《晋书》(八册),北京:中华书局,1974年版,第2467页。
(5)(唐)令狐德棻等:《周书》(三册),北京:中华书局:1971年版,第837页。
(6)(宋)郑樵:《通志·二十略》(下),北京:中华书局,1995年版,第1707-1737页。
(1)(清)纪昀著:《四库全书研究所整理.钦定四库全书总目》(整理本),北京:中华书局,1997年版,第1478页。
(2)(清)纪昀著:《四库全书研究所整理.钦定四库全书总目》(整理本),北京:中华书局,1997年版,第1519-1524页。
(3)李倍雷:《〈二十四史〉“艺术列传”是建构中国艺术理论学术话语的基础》,《贵州大学学报·艺术版》,2018年第6期。
(1)(南朝·宋)范晔、(唐)李贤等注:《后汉书》(四册),北京:中华书局,1974年版,第898页。
(2)鲁迅:《拟播布美术意见书》,《鲁迅全集》(第8卷),北京:人民文学出版社,1981年版,第47页。
(1)(南朝·宋)范晔、(唐)李贤等注:《后汉书》(四册),北京:中华书局,1974年版,第898页。
(2)(清)赵尔巽等:《清史稿》(4册),北京:中华书局,1998年版,第3548页。
(3)李倍雷:《〈二十四史〉“艺术列传”是建构中国艺术理论学术话语的基础》,《贵州大学学报》(艺术版),2018年第6期。
(1)张道一:《应该建立“艺术学”》,《张道一文集》,合肥:安徽教育出版社,1999年版,第11页。
(1)(北齐)魏收:《魏书》(六册),北京:中华书局,1974年版,第1943页。
(2)杨伯峻译注:《论语译注》,北京:中华书局,1980年版,第200页。
(3)(北齐)魏收:《魏书》(六册),北京:中华书局,1974年版,第1972页。
(4)(唐)房玄龄:《晋书》(八册),北京:中华书局,1974年版,第2467页。
(5)(唐)令狐德棻等:《周书》(三册),北京:中华书局:1971年版,第837页。
(6)(宋)郑樵:《通志·二十略》(下),北京:中华书局,1995年版,第1707-1737页。
(1)(清)纪昀著:《四库全书研究所整理.钦定四库全书总目》(整理本),北京:中华书局,1997年版,第1478页。
(2)(清)纪昀著:《四库全书研究所整理.钦定四库全书总目》(整理本),北京:中华书局,1997年版,第1519-1524页。
(3)李倍雷:《〈二十四史〉“艺术列传”是建构中国艺术理论学术话语的基础》,《贵州大学学报·艺术版》,2018年第6期。