觀念，身體與自然：藝術終結與中國美學的新生

在「全球化」的語境中，「藝術終結」不僅僅與宏觀地與「歷史的終結」間接相關，而且更微觀地與發生在歐美的「現代性的終結」直接相關。從東方的視角，在歐美的現代性（時間性的）「之前」與（空間性）的「之外」，現代意義上的「藝術」問題並不存在。由此而論，藝術終結的問題並非一個「全球性」的問題。然而，在可見的未來，藝術最終還是要走向終結，一種「日常生活美學」由此得以產生出來。觀念藝術、行為藝術和大地藝術分別代表了藝術走向終結的幾條道路：藝術終結於觀念，藝術回復到身體，藝術回歸到自然。由此，觀念主義美學、身體美學和自然環境美學便成為了這種趨勢的理論表述。與此同時，這些嶄新的美學觀念又是同中國古典美學智慧「相通」的，觀念藝術美學與禪宗思想、身體美學與儒家思想、環境美學與道家思想都有著異曲同工之妙。既然中國古典美學在本質上就是一種活生生的「生活美學」，那麼，由此就可以為反思全球範園內的「藝術終結」問題提供一個新的理論構架。

關鍵字

藝術終結；全球語境；生活美學；觀念藝術；行為藝術；道家美學；觀念藝術美學；身體美學；自然環境美學

並列摘要

In the context of globalization, the end of art would not merely be attributed to the ”the end of history” as a backdrop; furthermore, it would be more specifically and immediately related to ”the end of modernity” that occurred in Europe and America. From an Eastern perspective, neither before the European or American modernity (temporally) nor outside the modernity (spatially), has the problem of ”art” of a modem bearing ever existed. On these grounds, the end of art cannot be said to appear as a global problem. However, as art is bound to come to an end, the aesthetics of everyday life would follow up and stand out in the wake of its disappearance, with conceptual art, performance art, and land art each representing three distinct developments. That is to say, art ends up in concept, art returns to body and art reverses to nature. And, accordingly, conceptualism aesthetics, somaesthetics, and environmental aesthetics would presumably spring up as theoretical attempts to reflect on the changes. Besides, these newborn theories are considered capable of corresponding relatively to conceptualism aesthetics of traditional Chinese Chan Buddhism, all-around aesthetics of Confucianism, and naturalism aesthetics of Daoism. Since traditional Chinese aesthetics is by nature the reflection of art of living (I called it Living Aesthetics), new conclusions could be hopefully reached, if taking it as a framework of reference, in our effort to rethink the problem of the end of art. In my understanding of Chinese traditional culture, aesthetics takes its earthy roots in everyday life while on the other hand it also draws on extra-everyday life as its source of tension.

並列關鍵字

The End of Art ； Global Contexts ； Living Aesthetics ； Conceptual Art ； Performance Art ； Aesthetics of Daoism ； Aesthetics of Conceptualism ； Somaesthetics ； Aesthetics of the Natural Environment