End Questions Of Art And Their Chinese Representation

Since Hegel proposed the End of Art in his aesthetics lecture in Berlin, the concern with this topic has never stopped in the area of western art and aesthetics. Especially in the period of arts and aesthetics'transformation, the discussion on the End of Arts becomes more frequently. The End of Art is a product of modern, because the art is also the product of modern as is the subject of the end. As a modern product, The End of Art is related to the artistic crisis of the institutional legitimacy. When the new art practice completely break the limits of art institutions, art legitimacy of the institutions is facing the danger of being deconstructed, the End of Art has also been proposed.This essay discussed the End of Art from three aspects:the representative views of the End of Art, the relation between the End of Art and art institutions and the Chinese presentation of the End of Art. The introduction mainly summarized the impact and the research significance of the End of Art, its situation of study in China and the ideas and methods in this paper. This essay is divided into three parts: the first part placed the thought of the End of Art into its concrete linguistic context, which was proposed by Hegel, Adorno and Danto. It also revealed its meaning and shortcomings. The second part discussed the relation between the End of Art and art institutions. The End of Art is a representation of art belief crisis, as is also a representation of legitimacy crisis in artistic institutions. The End of Art represents the evolution of the arts'institutions. The third part discussed the question on the end of literature. As is a Chinese representation of End of Art, the end of literature was influenced by the West, and had the inevitability of tradition and reality. The conclusion pointed out that the modern art wouldn't end because of the End of Art proposed by theorist, but would glow the vitality and the vigor.