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本文详细阐述了马采的艺术学理论,并将它与德苏瓦尔、宗白华和现代的艺术学观点做出比较,相对于德苏瓦尔体系略为欠缺而宗白华内容略为庞杂的艺术学理论而言,马采的艺术学著作更具有了整体性和系统性。同时在对新时期艺术学的研究中发现,我国后来出版的艺术学著作在理论构架上并没有超出马采所涉及的艺术学的内容,在部分理论上(例如艺术欣赏)也只是发展和完善了马采在半个多世纪以前提出的观点,同样没有超出其基本框架。马采的一系列真知灼见也仍然有着不可磨灭的价值,即使在今天他对于艺术学研究方法的论述也是切中时弊的。因此,我们说马采是继宗白华之后对我国艺术学研究做出重要扩展的艺术理论家,他的理论应该受到关注并在我国的艺术学发展史上占有一席之地。
This article elaborates the art theory of Ma Cai and compares it with the views of De Zuval, Zong Baihua and modern artistry. Compared with the slightly lacking of the De Suval system and the somewhat complicated art of Zong Baihua, In theory, Ma Cai’s works of art are more holistic and systematic. At the same time, in the study of the art of the new period, it was found that the later published works of art in China did not go beyond the content of the art studies covered by Ma Cai in theoretical framework, and only developed and perfected in some theories (for example, art appreciation) The views that Mathei made more than half a century ago did not go beyond its basic framework. A series of insights from Matthew still have an indelible value. Even today, his discourse on the methodology of the study of the arts is a real tragedy. Therefore, we say that Ma Cai is an art theorist who made an important expansion of the study of Chinese art after Zong Baihua. His theory should be paid attention and occupy a place in the history of the development of art in our country.