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文艺理论研究 ›› 2022, Vol. 42 ›› Issue (2): 137-145.

• 专题:文艺理论中的新实用主义与分析 • 上一篇    下一篇

从符号化的意向性通向艺术符号学的哲学向度:归纳认知视域下的赝品问题再探

安静   

  1. 中央民族大学文学院
  • 出版日期:2022-04-25 发布日期:2022-05-06
  • 作者简介:安静,文学博士,中央民族大学文学院副教授,主要研究方向为文艺美学与艺术符号学。
  • 基金资助:
    国家社科基金重大专项“新时代中国特色美学基本理论问题研究”(18VXK010);2020北京市高精尖学科—民族艺术学“舞蹈符号学的民族话语体系建构研究”(ART2020Y02

From Symbolizational Intentionality to the Philosophical Dimension of Art Semiotics: A Reinvestigation of Forgery Issues from the Perspective of Inductive Cognition

An Jing   

  1. the School of Liberal Art, Minzu University of China
  • Online:2022-04-25 Published:2022-05-06
  • About author:An Jing, Ph. D., is an associate professor at the School of Liberal Art, Minzu University of China. Her research interests focus on aesthetics of literature and art and art semiotics.
  • Supported by:
    the Major Special Project of National Social Sciences Fund (18VXK010) ; the 2020 Beijing Advanced Discipline Project (Ethnic Art) (ART2020Y02)

摘要: 艺术赝品经常被论及的角度大体包括审美价值、艺术价值、艺术体制等,但关于赝品的认知价值还鲜有关注。赝品认知存在以假乱真以假代真情况,涉及到归纳逻辑的认知概率问题,这与古德曼所提出的归纳悖论存在学理上的相通性。无论是以假乱真还是以假代真,对赝品的认知过程存在符号化的意向性过程,即感性直观、形式直观以及本质直观三个阶段,最终的目的是离开艺术文本的符号构成,进入最后的“本质直观”,其间蕴含着探讨艺术符号学哲学向度的可能空间。从赝品的认知逻辑出发,探寻经验论与观念论之间的辩证张力,打破二者之间的二元对立分野,在实践的基础上进一步整合人类的思想资源,使艺术符号学真正走向哲学的境界,共同面对人类思想的终极追求。

关键词: 符号化的意向性, 认知概率, 赝品, 艺术符号学

Abstract: Art forgery is generally discussed from such perspectives as its aesthetic value, artistic value, and artistic system, but little attention has been paid to the cognitive value of forgery. The cognition of fakes involves “confusing the real with the fake” and “replacing the real with the fake”, which is relevant to the cognitive probability problem of inductive logic. The cognition of forgery is connected to the inductive paradox proposed by Nelson Goodman. Whether it is “confusing the real with the fake” or “replacing the real with the fake,” our cognitive process of forgery engages a “symbolizational intentionality” process, that is, the three stages of perceptual intuition, formal intuition, and essential intuition. The ultimate goal is to leave the artistic text and enter the final “essential intuition,” in which there is a possible space for exploring the philosophical dimension of art semiotics. Through exploring the dialectical tension between empiricism and idealism from the cognitive logic of fakes, breaking the binary opposition between the two, and further integrating human intellectual resources on the basis of practice, art semiotics is made possible for us to truly move towards the realm of philosophy and face the ultimate pursuit of human thought.

Key words: symbolizational intentionality,  cognitive probability,  forgery,  art semiotics