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本文依据目的化原则 ,提出克罗齐美学主张人本批评 ,排斥形式批评 ;由此澄清学术界长期以来的一个误解 ,即将克罗齐美学视作“为艺术而艺术”的“形式主义”。克罗齐的人本批评肯定艺术的抒情本性 ,要求对情感直觉做逻辑综合 ,是一种关注生活、阐释个性、促进心灵完善与发展的目的化活动。克罗齐否定形式批评 ,他把艺术表现分为直觉与媒介两种表现 ,只有直觉认识才是他所谓的艺术形式。如果把艺术看作审美目的化的实践活动 ,两种表现势必熔于一炉 ,目的化活动势必落实为感性对象性的形式化过程。美学作为艺术哲学 ,内在地要求目的化与形式化的一致 ,要求人本批评与形式批评的统一。
Based on the principle of purposiveness, this article proposes that Croce aesthetics advocates humanistic criticism and rejects formal criticism. This will clarify a long-standing misunderstanding in the academic field that regards Croce aesthetics as the “formalism” of “art for art.” Croce’s critique of people’s affirmation of the lyrical nature of art requires a logical synthesis of emotional intuition, which is a purposeful activity that focuses on life, interprets personality, and promotes spiritual perfection and development. Croce denied formal criticism. He divided artistic expression into two manifestations of intuition and media. Only intuition is his so-called art form. If art is regarded as the practical activity of aesthetic purpose, the two performances are bound to melt and the purposeful activity is bound to be implemented as the formalized process of the sexual object. As an art philosophy, aesthetics requires inherently the unity of purposiveness and formality, and calls for the unification of humanistic criticism and formal criticism.