通向艺术场域史:一种开放而中立的艺术史书写
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摘要
传统艺术史的书写往往着眼于艺术的创作和发生,而艺术本身的发展却要求一部开放的、普遍的和中立的艺术史。本文拟结合分析美学对艺术的界定,将围绕艺术或者艺术作品的关系元素置于艺术场域的内场和外场,同时联系布尔迪厄对于艺术场域的生成和自主化分析,构想艺术场域史。认为艺术场域史开放了艺术的发端和未来,敞开了各个艺术门类。同时,艺术场域概念的中立性解决了艺术史书写既不便站在当下语境进行价值判断,也无法客观还原历史语境的两难。
As a tradition,art history focuses on the creation and generation of artworks,but the evolution of art requires the writing of its history to be open,neutral and comprehensive. By referring to the definitions of art from the perspective of analytic aesthetics and relating to Bourdieu's theorization of art field and analysis of autonomation,this paper tries to conceive a history of arts field through placing the relational elements concerning art and artworks into the inner and outer art field. The paper maintains that the history of art field may open up the genesis and future as well as the category of the art. Meanwhile,the neutral stance in writing art history can break through the dilemma between having to make value judgments from the present context and being unable to objectively restore the history context.
As a tradition,art history focuses on the creation and generation of artworks,but the evolution of art requires the writing of its history to be open,neutral and comprehensive. By referring to the definitions of art from the perspective of analytic aesthetics and relating to Bourdieu's theorization of art field and analysis of autonomation,this paper tries to conceive a history of arts field through placing the relational elements concerning art and artworks into the inner and outer art field. The paper maintains that the history of art field may open up the genesis and future as well as the category of the art. Meanwhile,the neutral stance in writing art history can break through the dilemma between having to make value judgments from the present context and being unable to objectively restore the history context.
引文
Bourdieu,Pierre.“The Field of Cultural Production.”Essays on Art and Literature.Ed.R.Johnson.New York:Columbia University Press,1993.
布列逊:《视觉与绘画:注视的逻辑》。杭州:浙江摄影出版社,2004年。[Bryson,Norman.Vision and Painting:The Logic of the Graze.Hangzhou:Zhejiang Photography Publishing House,2004.]
曹意强:“新视野中的欧美艺术史学(导论)”,《新美术》1(2005):13-21。[Cao,Yiqiang.“Art History Studies in the West in the New Perspective(An Introduction).”New Fine Arts 1(2005):13-21.]
戴锦华:“面对当代史——读洪子诚《中国当代文学史》”,《当代作家评论》4(2000):115-18。[Dai,Jinhua.“Facing the Contemporary History:A Review of Hong Zicheng's History of Contemporary Chinese Literature.”Contemporary Authors Review 4(2000):115-18.]
丹托:《寻常物的嬗变——一种关于艺术的哲学》,陈岸瑛译。南京:江苏人民出版社,2012年。[Danto,Arthur.The Transfiguration of the Commonplace.Trans.Chen Anying.Nanjing:Jiangsu People's Publishing House,2012.]
迪基:“什么是艺术?——一种习俗伦分析”,《二十世纪西方美学名著选》,蒋孔阳主编。上海:复旦大学出版社,1987年。[Dickie,George.“What is Art?An Institutional Analysis.”A Reader of Famous Works in 20th-Century Western Aesthetics.Ed.Jiang Kongyang.Shanghai:Fudan University Press,1987.]
丁宁:“论艺术史的分期意识”,《社会科学战线》2(1997):161 -69。[Ding,Ning.“On the Periodization in Art History.”Social Sciences Front 2(1997):161-69.]
刘晖:“译后记”,《艺术的法则》,刘晖译。北京:中央编译出版社,2001年。[Liu,Hui.“Translator's Postscripts to Pierre Bourdieu's Rules of Art.”Rules of Art.Trans.Liu Hui.Beijing:Central Compilation and Translation Publishing House,2001.]
Mandelbaum,Maurice.“Family Resemblances and Generalization Concerning the Arts.”Aesthetics:Critical Concepts in Philosophy.Ed.James O.Young.London&New York:Routledge,2005.
波普尔:《公开社会及其敌人》。陆衡等译。北京:中国社会科学出版社,1999年。[Popper,Karl.The Open Society and Its Enemies.Trans.Lu Heng,et al.Beijing:China Social Sciences Publishing House,1999.]
张法:“迪基《美学导论》与中国美学原理写作的差异”,《人文杂志》4(2006):70-74。[Zhang,Fa.“The Difference Between Dickie's Aesthetics:An Introduction and the Writing of Chinese Principles of Aesthetics in China.”Humanities Magazine 4(2006):70-74.]
张意:“文化资本”,《文化研究》第5辑,陶东风等编。桂林:广西师范大学出版社,2005年。[Zhang,Yi.“Cultural Capital.”Cultural Studies.Vol.5.Eds.Tao Dongfeng,et al.Guilin:Guangxi Normal University Press,2005.]
朱立元主编:《当代西方文艺理论》。上海:华东师范大学出版社,1997年。[Zhu,Liyuan,ed.Contemporary Western Literary Theory.Shanghai:East China Normal University Press,1997.]
1 参见乔治·迪基:“艺术界”,《二十世纪西方美学经典文本》第3卷《结构与解放》,李钧编(上海:复旦大学出版社,2001年)822-24。原文见The Art Circle:A Theory of Art.New York:Heaven,1984.80-82.
2 转引自殷曼楟:“从迪基艺术体制论的转变看后分析美学当代转型中的尴尬”,《哲学动态》8(2010):79-84。原文见Mortensen,Preben.Art in the Social Order:The Making of the Modern Conception of Art.Albany,New York:State University of New York Press,1997.
3 见皮埃尔·布迪厄:《艺术的法则:文学场的生成和结构》,刘晖译(北京:中央编译出版社,2001年)93。
4 转引自丁宁:“论艺术史的分期意识”,《社会科学战线》2(1997):161-69。原文见Arnheim,Rudolf.New Essays on Psychology of Art.Oakland:University of California Press,1986.265.
5 见诺曼·布列逊:《视觉与绘画:注视的逻辑》,郭杨译(杭州:浙江摄影出版社,2004年)。
6 参见许嘉猷:“布尔迪厄论西方纯美学与艺术场域的自主化——艺术社会学之凝视”,《欧美研究》34.3(2004):357 -429。原文见Bourdieu,Pierre.In Other Words:Essays Towards a Reflexive Sociology.Trans.M.Adamson.Oxford:Polity Press,1990.135.
布列逊:《视觉与绘画:注视的逻辑》。杭州:浙江摄影出版社,2004年。[Bryson,Norman.Vision and Painting:The Logic of the Graze.Hangzhou:Zhejiang Photography Publishing House,2004.]
曹意强:“新视野中的欧美艺术史学(导论)”,《新美术》1(2005):13-21。[Cao,Yiqiang.“Art History Studies in the West in the New Perspective(An Introduction).”New Fine Arts 1(2005):13-21.]
戴锦华:“面对当代史——读洪子诚《中国当代文学史》”,《当代作家评论》4(2000):115-18。[Dai,Jinhua.“Facing the Contemporary History:A Review of Hong Zicheng's History of Contemporary Chinese Literature.”Contemporary Authors Review 4(2000):115-18.]
丹托:《寻常物的嬗变——一种关于艺术的哲学》,陈岸瑛译。南京:江苏人民出版社,2012年。[Danto,Arthur.The Transfiguration of the Commonplace.Trans.Chen Anying.Nanjing:Jiangsu People's Publishing House,2012.]
迪基:“什么是艺术?——一种习俗伦分析”,《二十世纪西方美学名著选》,蒋孔阳主编。上海:复旦大学出版社,1987年。[Dickie,George.“What is Art?An Institutional Analysis.”A Reader of Famous Works in 20th-Century Western Aesthetics.Ed.Jiang Kongyang.Shanghai:Fudan University Press,1987.]
丁宁:“论艺术史的分期意识”,《社会科学战线》2(1997):161 -69。[Ding,Ning.“On the Periodization in Art History.”Social Sciences Front 2(1997):161-69.]
刘晖:“译后记”,《艺术的法则》,刘晖译。北京:中央编译出版社,2001年。[Liu,Hui.“Translator's Postscripts to Pierre Bourdieu's Rules of Art.”Rules of Art.Trans.Liu Hui.Beijing:Central Compilation and Translation Publishing House,2001.]
Mandelbaum,Maurice.“Family Resemblances and Generalization Concerning the Arts.”Aesthetics:Critical Concepts in Philosophy.Ed.James O.Young.London&New York:Routledge,2005.
波普尔:《公开社会及其敌人》。陆衡等译。北京:中国社会科学出版社,1999年。[Popper,Karl.The Open Society and Its Enemies.Trans.Lu Heng,et al.Beijing:China Social Sciences Publishing House,1999.]
张法:“迪基《美学导论》与中国美学原理写作的差异”,《人文杂志》4(2006):70-74。[Zhang,Fa.“The Difference Between Dickie's Aesthetics:An Introduction and the Writing of Chinese Principles of Aesthetics in China.”Humanities Magazine 4(2006):70-74.]
张意:“文化资本”,《文化研究》第5辑,陶东风等编。桂林:广西师范大学出版社,2005年。[Zhang,Yi.“Cultural Capital.”Cultural Studies.Vol.5.Eds.Tao Dongfeng,et al.Guilin:Guangxi Normal University Press,2005.]
朱立元主编:《当代西方文艺理论》。上海:华东师范大学出版社,1997年。[Zhu,Liyuan,ed.Contemporary Western Literary Theory.Shanghai:East China Normal University Press,1997.]
1 参见乔治·迪基:“艺术界”,《二十世纪西方美学经典文本》第3卷《结构与解放》,李钧编(上海:复旦大学出版社,2001年)822-24。原文见The Art Circle:A Theory of Art.New York:Heaven,1984.80-82.
2 转引自殷曼楟:“从迪基艺术体制论的转变看后分析美学当代转型中的尴尬”,《哲学动态》8(2010):79-84。原文见Mortensen,Preben.Art in the Social Order:The Making of the Modern Conception of Art.Albany,New York:State University of New York Press,1997.
3 见皮埃尔·布迪厄:《艺术的法则:文学场的生成和结构》,刘晖译(北京:中央编译出版社,2001年)93。
4 转引自丁宁:“论艺术史的分期意识”,《社会科学战线》2(1997):161-69。原文见Arnheim,Rudolf.New Essays on Psychology of Art.Oakland:University of California Press,1986.265.
5 见诺曼·布列逊:《视觉与绘画:注视的逻辑》,郭杨译(杭州:浙江摄影出版社,2004年)。
6 参见许嘉猷:“布尔迪厄论西方纯美学与艺术场域的自主化——艺术社会学之凝视”,《欧美研究》34.3(2004):357 -429。原文见Bourdieu,Pierre.In Other Words:Essays Towards a Reflexive Sociology.Trans.M.Adamson.Oxford:Polity Press,1990.135.