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在现代艺术中,丑作为一个感性契机发挥了重要作用,丑是对美的批判和救赎,是真理内涵展现的主要感性表象。阿多诺在著作《美学理论》中详细考察了丑的范畴发展史,丑源于人类对未知的力量的恐惧,人类通过摹仿而消除恐惧,艺术保留了人类的摹仿本能。现代人通过艺术来回忆这种摹仿。丑与美是一对辨证发展的概念,它们之间的张力构成了艺术的感性契机。丑作为一种否定性力量,是本真艺术的主要表现形式,本真艺术可以展示出真理内涵,这种真理内涵是对所有非同一之物的非暴力的综合。艺术需要通过哲学来阐释真理内涵,这也是现代美学和艺术的基础。
In modern art, ugliness plays an important role as a sentimental opportunity. Ugliness is the criticism and redemption of beauty, which is the main perceptual representation of the connotation of truth. Adorno in his book “Aesthetic Theory” examines in detail the development history of ugly categories, ugly origins in human fear of unknown forces, human beings to eliminate fear through imitation, art retains human imitation instincts. Modern art recalls this imitation. Ugly and the United States are a pair of dialectical development concept, the tension between them constitutes the emotional opportunity of art. Ugly as a negative force, is the main manifestation of the true art, art can show the true meaning of the truth, this truth is the non-violence of all non-identical synthesis. Art needs to explain the meaning of truth through philosophy, which is also the basis of modern aesthetics and art.