| This article focuses on the combing and interpretation of Nietzsche's philosophy of art in a staged view.This article takes the macro perspective of the history of Western aesthetics as the starting point and tries to reveal the theoretical origin of Nietzsche's philosophy of art.Focusing on the underlying life issue of Nietzsche's philosophy of art(how to conquer the tragic truth of being-there),this article gives a detailed explanation of Nietzsche's philosophy of art in solving the Schopenhauer's existential puzzle with the method of affirming or denying life in different period.Meanwhile,this article puts the solutions into the framework of metaphysics for further reflection and accurately understands the Nietzsche's philosophy of art in different period based on the famous propositions such as "Apollonian spirit," "Dionysian spirit," " death of God," "eternal recurrence," "overman," and "the will to power".In this way,this article reveals the inherent variability,difference and contradiction of Nietzsche's philosophy of art,and on this basis restores the true face of Nietzsche's philosophy of art as the metaphysical aesthetics of survival so as to better answer the ultimate question of "who is Nietzsche? ".Finally,this article shows the great influence of Nietzsche's philosophy of art on the aesthetics and cultural construction of the later Chinese and Western aesthetics.In the detailed interpretation of the early Nietzsche's philosophy of art(1872-1876),this article reveals the enormous influence of the Schopenhauer's aesthetics on the early Nietzsche's metaphysics of art from three aspects.This article finds that the artistic dichotomy of Apollonian art?Dionysian art in early Nietzsche and the "three-world theory" of tragedy are directly derived from Schopenhauer's aesthetic resources.Also early Nietzsche offers two solutions to the tragic truth of being-there: the Apollonian(Apollonian spirit)and Dionysian(Dionysian spirit)solution,but these two solutions finally lead to Schopenhauer's Pessimism,early Nietzsche is still a pessimist like Schopenhauer.At the same time,early Nietzsche opens the door of post-modernism in criticizing Socratism,but he doesn't fall into the abyss of postmodern nihilism,in contrast,he constructs the belief of a new religion in the visual threshold of aesthetic modernity which uses the aesthetic sensitivity instead of Enlightenment's reason to save the hollowed modernity.In the detailed interpretation of the middle Nietzsche's philosophy of art(1876-1881),this article focuses on the double critique of metaphysics by the middle Nietzsche's critical position based on genealogy.This article reveals that middle Nietzsche establishes the basic concept of becoming philosophy through critique,thus embarks on a path of scientific optimism that positively affirms individual life,all these make middle Nietzsche's thoughts possess strong post-modernity.More than that,this article also points out that under the guidance of scientific optimism,Nietzsche launches a fierce critique of art in the first volume of Human,All Too Human(three original sins of art).Later,on the one hand,Nietzsche puts forward the concept of “signpost art” on the stand of affirming art.On the other hand,Nietzsche continues to fiercely criticize art based on the metaphysical qualities of art,and even wants to cancel the art as artworks' existent value.Therefore,after the first volume of Human,All Too Human,Nietzsche produces a kind of contradictory view of art.In the detailed interpretation of the transitional Nietzsche's philosophy of art(1882-1887),this article points out that in The Gay Science,Nietzsche proposes the idea of "cultural bicameralism".In "cultural bicameralism",art has become a favorable guarantee for the implementation of positive science with its profound superficiality.At the same time,the metaphysics of art reverts to the center of Nietzsche's thoughts,thus opening the transition of Nietzsche's philosophy of art from the middle to late period.Of course,the core idea of transitional Nietzsche's philosophy of art is the thought of "eternal recurrence".In the three transmissions of "eternal recurrence",Nietzsche makes the thought of "eternal recurrence" have the dual connotation which respectively are scientific connotation and emotional connotation.In the emotional dimension,“eternal recurrence” conveys the spirit of the new Dionysian spirit.Its core idea is to teach people to view life in a tragic way,and to step into the double affirmation of life which are made of the abyss of pain and the pinnacle of “overman”.In the transmission of the thought of "eternal recurrence",Nietzsche's philosophy of art also completes the transition from the middle to late period.In the detailed interpretation of the late Nietzsche's philosophy of art(1888),this article begins with the late Nietzsche's critique and inheritance of his transitional philosophy of art,and points out that the late Nietzsche cancels the opposition between the art as artworks and treating life as art,and interpreting the new Dionysian spirit in the fusion of these two concepts of art.Meanwhile late Nietzsche advocates the thought of the dynamic becoming of classes,thereby lowering the barrier to entry for the new Dionysian spirit.Of course,in addition to critique,late Nietzsche also learns lessons from his transitional aesthetic experience,emphasizing that art is an inspiration to the will.In the end,late Nietzsche establishes the idea of artistic physiology,emphasizing that art originates from sexual impulses,but it is not the natural expression of sex but the spiritual expression of sex.Therefore,the "transformation" of art has become the core concept of artistic physiology,and the essence of the "transformation" of art is to convey the new Dionysian spirit which leads late Nietzsche's artistic physiology to the double affirmation of life under the view of " the will to power". |
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