Exploration into the Evolution of Arthur Danto's Style Matrix
Journal: Arts Studies and Criticism DOI: 10.32629/asc.v5i5.3080
Abstract
This paper discusses in depth the "style matrix" theory proposed by Arthur Danto, which analyzes the composition and evolution of artistic style in the framework of logical matrix, and challenges the single definition of the essence of art in the traditional imitation theory. Danto emphasizes that the legitimacy and value of works of art not only depend on their physical properties and visual expression, but also are influenced by the theoretical atmosphere of art and the knowledge of art history, revealing the complex positioning of works of art in a specific social system and cultural context. The style matrix model has been improved, enhanced the historicity and inclusiveness, and provided a powerful tool for the fine classification of art styles and the narrative innovation of art history. Although faced with such controversies as the complexity of predicate logic relations, theoretical arbitrariness and the obscure of artists' intentions, this theory has opened up a new perspective for art history and art research, stimulated in-depth exploration of the relationship between art nature and social culture, and has an important influence on the development of contemporary art theories.
Keywords
Danto; style matrix; style; art theory
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[1] By Arthur Danto, translated by Wang Chunchen: Art World [J]. Foreign Aesthetics, 2012,19.
[2] Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary Between Contemporary Art and History [M]. Nanjing: Jiangsu People's Publishing House, 2007,171.
[3] (US) Arthur Danto, Translated by Wang Chunchen: Art World [J]. Foreign Aesthetics, 2012,17.
[4] (US) Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary between Contemporary Art and History [M]. Nanjing: Jiangsu People's Publishing House, 2007.174.
[5] (US) Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary Between Contemporary Art and History [J]. Nanjing: Jiangsu People's Publishing House, 2007.177.
[6] Arthur Danto, translated by Wang Chunchen: Art World [J]. Foreign Aesthetics, 2012.18.
[7] Carroll, N. (1995). Danto, Style, and Intention. The Journal of Aesthetics and Art Criticism, 53(3), 256.
[8] Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary Between Contemporary Art and History [J]. Nanjing: Jiangsu People's Publishing House, 2007.177.
[2] Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary Between Contemporary Art and History [M]. Nanjing: Jiangsu People's Publishing House, 2007,171.
[3] (US) Arthur Danto, Translated by Wang Chunchen: Art World [J]. Foreign Aesthetics, 2012,17.
[4] (US) Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary between Contemporary Art and History [M]. Nanjing: Jiangsu People's Publishing House, 2007.174.
[5] (US) Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary Between Contemporary Art and History [J]. Nanjing: Jiangsu People's Publishing House, 2007.177.
[6] Arthur Danto, translated by Wang Chunchen: Art World [J]. Foreign Aesthetics, 2012.18.
[7] Carroll, N. (1995). Danto, Style, and Intention. The Journal of Aesthetics and Art Criticism, 53(3), 256.
[8] Arthur Danto, translated by Wang Chunchen, After the End of Art: The Boundary Between Contemporary Art and History [J]. Nanjing: Jiangsu People's Publishing House, 2007.177.
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