西方美学关于艺术本质的三部曲(上)——艺术本质论：从自然本体论美学到认识论美学

关于艺术本质问题，西方美学史大体经历了三大阶段：第一阶段是从古希腊到文艺复兴和新古典主义（公元前6世纪-公元17世纪），这是西方美学的古代自然本体论美学时期，这一时期的艺术本质理论以古希腊以来的“艺术摹仿自然论”为主旋律，以文艺复兴时代的“艺术是自然的镜子说”为变奏曲，突出艺术的客体性。第二阶段是从启蒙主义到德国古典美学（公元18世纪-19世纪中叶），这是西方美学的近代认识论美学时期，这一时期的艺术本质理论以经认识论观点改造过的“模仿论”和“镜子说”为主旋律，以“艺术的表现论”为变奏曲，高扬艺术的主体性。第三阶段是从马克思主义实践美学、俄国革命民主主义美学和西方现代主义美学到新马克思主义美学和后现代主义美学（19世纪中叶-20世纪末），这是西方美学的现代和后现代人类（社会）本体论美学时期，这一时期的艺术本质理论是一曲曲无主题变奏曲，形形色色的观点交混回响，新曲层出不穷，怪腔怪调甚嚣尘上。尽管如此，这三个阶段如同历时演进的三部曲，其间的种种声音都或多或少、或隐或显与人类、人类社会、人类的某种精神因素、人类的语言相联系。

On the Western Aesthetic Trilogy Concerning Artistic Nature(PartⅠ)--Artistic Nature:From the Natural Noumenon Aesthetics to Epitemologic Aesthetics

With regard to the nature of art,Western aesthetics has undergone roughly three stages:the first being from ancient Greek days to Renaissance and neoclassicism (600 B.C-1600),which was the ancient natural noumenon period of Western aesthetics,the "artistic imitation of nature" since ancient Greece being its main theme,the theory of "Art is the mirror of nature" during the Renaissance being its variations;the second being from the Enlightenment of German classic aesthetics (from 18th century to the middle of 19th century),which was the contemporary epitemologic period of Western aesthetics,the "imitation theory" and the "mirror theory" remoulded by epitemologic concepts being its main theme,the "theory of artisctic expression" being its variations;the third being from Marxist practical aesthetics,Russian revolutionary democratic aesthetics and Western modernistic aesthetics to Neo-Marxist aesthetics and post-modernistic aesthetics(from the middle of 19th century to the end of 20th century),in this stage,there being no main theme but variations,various concepts,and strange tunes.The three stages,just like a trilogy unfolding diachronically,were more or less connected with men,men's society,men's spititual factors and men's languages.