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荷兰人文主义者艾萨克·弗修斯(1618—1689)写作了欧洲第一篇为中国艺术作辩护的文章,这是当代早期唯一一篇推崇亚洲美学胜过西方美学的文章。当代学者着力研究弗修斯在《圣经》批评、史料编纂学和哲学方面的论著,在很大程度上忽视了这个文本。本文将通过弗修斯对中国视觉艺术观念的讨论,探究其内容和语境,表明17世纪的荷兰对中国哲学的兴趣,是随着它对亚洲艺术作品的认识不断提高而发生的。本文也将说明弗修斯通过仔细地修改欧洲传统艺术理论中的惯例,用另一种具有线状简明性的美学,取代了那种对作为“自然之镜”的艺术以及空间错觉的主导性研究,为了适应中国意象而修正了古典美的标准。本文将把弗修斯别具一格的阐释方式,与斯宾诺莎圈子里的哲学家们对亚洲思想的初期兴趣结合起来,因此它将论证欧洲对中国美学的第一次讨论被整合进一个广阔的话语中,在那里,关于中国哲学、艺术和政治的理想化观念充当了“激进”启蒙运动中具有争议的观点的陪衬。
The Dutch humanist Isaac Fuchs (1618-1689) wrote the first article in Europe to justify Chinese art, the only one in early modern history that favored Asian aesthetics over western aesthetics. Contemporary scholars have devoted themselves to the study of Friesian’s writings in Biblical criticism, historical compilation and philosophy, and have largely ignored this text. This essay will explore the content and context of Freueth’s discussion of the concept of Chinese visual art by demonstrating that Dutch interest in Chinese philosophy in the seventeenth century arose as its understanding of Asian works of art continued to increase. This article will also show that by carefully modifying the conventions in European traditional art theory, Freuis replaced another with a linear concise aesthetics that replaced the art as the “mirror of nature” and the illusion of space Leading research, in order to adapt to the Chinese image and revised the standard of classical beauty. In this article, we will combine Freud’s unique way of interpretation with the initial interest of Asian philosophers in the Spinoza circle, so that it will argue that the first European discussion of Chinese aesthetics was integrated into a vast In discourse, there, the idea of idealization of Chinese philosophy, art, and politics served as a foil to the controversial views of the “radical” Enlightenment.