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我刚踏进学术研究大门时,是上世纪70年代末,当时我的 研究偏重于西方,翻译了阿恩海姆的《艺术与视知觉》等,还 撰写了《审美心理描述》和《艺术社会学描述》等著作。进入 不惑之年,我的研究又偏重于东方,撰写了《中国怀疑论传统》, 对中国道家的核心精神进行了剖析。进入“知天命”之年后, 我的研究开始偏向东西方文化、艺术、美学思想的比较,撰写 了《文化的边缘》和《对话理论》等著作。进入新世纪后,我 开始转向艺术教育的研究,撰写了《艺术与创生》等著作,主 要是想把自己掌握的哲学、心理学、社会学、人类学知识和觉 悟,融为一体,渗透到基础教育阶段的艺术课程中,试图矫正 我国艺术教育偏重技法、轻视人文的缺陷。
When I first stepped into the academic research gate, I was in the late 1970s when my research focused on the West. I translated Arnheim’s “Art and Vision Consciousness” and wrote “Aesthetic Psychological Descriptions” and “Art Sociological Description ”and other works. Into the never-confused year, my research is also more emphasis on the East, wrote the “Chinese skepticism tradition”, the core spirit of Chinese Taoists were analyzed. After entering the year of “Knowing the Fate,” my research began to favor the comparison of eastern and western cultures, arts and aesthetics, and wrote such works as “The Edge of Culture” and “Dialogue Theory.” After entering the new century, I began to turn to the study of art education and authored works such as “Art and Creation”. I mainly want to integrate the philosophy, psychology, sociology, anthropology and enlightenment I have in my own hand, To the basic education phase of the art curriculum, trying to correct our art education emphasis on techniques, underestimate the shortcomings of the humanities.