在传统美学,尤其是鲍姆嘉登和康德之后的美学视野中,艺术之所以区别于其他日常事物,是因为拥有独特的感性光环(独特的色彩、声音、形状、节奏、韵律等),可是,到了20世纪,先锋艺术运动却似乎一再打破了这个感性(审美)迷梦,把艺术“不可感”、“非审美”的一面发挥到极致。首先,当代艺术呈现出一种“混淆”的面貌。表面上毫无二致的两个东西,一个是艺术品,一个却不是,这让二者所共享的感性可感特征变得无足轻重。典型的 In traditional aesthetics, especially after Baumgartner and Kant, the reason that art differs from other everyday things is that it has a unique sensuous aura (unique color, sound, shape, rhythm, rhythm, etc.) By the 20th century, the avant-garde art movement seems to have repeatedly broken this perceptual (aesthetic) dream and exerted the utmost intentions of art, “not sensible” and “non-aesthetic.” First of all, contemporary art presents a “confused” face. Two things on the surface, one is artwork, and the other is not, which makes the perceptual and sensible features shared by the two become insignificant. typical