From the Color and the Light to the Space- A Range of the Concept of the Sublime in the Romanticism

在本研究中，丹托的“干扰”概念是一个关键词。“扰”的涵义包含了自慰和扰的两层含义，意味着一种突破观众与艺术之间界限的艺术力量，使观众为之震撼。丹托认为，“扰乱艺术”是试图恢复艺术的力量，这种力量在酒神节上吸引了观众。看来，干扰艺术的经验与崇高的经验具有相同的结构，后者存在于通过自我的否定与他者的相遇中。崇高的经验结构与“干扰艺术”之间的这种对应意味着崇高起源于原始世界，表达了人类寻求突破美的和谐形态的根本愿望。因此，崇高的概念在行为艺术和寻求与之相同的工作的艺术中仍然具有现实性。浪漫主义已经开始将色彩置于绘画之上，与具有潜在空间扩展的景观相关。它认为色彩是光的变形，也具有潜在的无限广阔性，有一种否定形式的倾向。绘画规范从肖像画、历史画到风景画的变化预示着从以形象美为规范的艺术到超越一切描述、概念和框架的艺术的变化。因此，将崇高的概念引向了色彩、无形和表演。我们可以在现代艺术中实践不同的崇高观念。

In this research serves Danto's concept of the "disturbation" as a key word. The coinage of "disturbation", which consists of meanings of masturbation and disturbance, means a power of art which breaks through the boundary between the audience and the art to shock him. Danto thinks of the "disturbational art" as an attempt to recover the power of art which got the audience at the Dionysian fest. It seems that the experience of the disturbational art has the same structure as the experience of the sublime which consists in the encounter of the Another through the negation of the self. This correspondence between the structure of experience of the sublime and the "disturbational art" means that the sublime has its origin in the primitive world and has expressed the radical desire of the human which has sought to break through the harmonious formation of the beautiful. Therefore, the concept of the sublime has its actuality yet in performance art and art which seeks the same working as it.The romanticism has begun putting the coloring above the drawing, related to the landscape which has a potential spatial expanse. It thinks of the color as the metamorphosis of the light which also has a potentially unlimited expanse, a tendency to negate the formation.The change in the norm of painting from the portrait and the historical painting to the landscape foretells the change from the art, which regards the figurative beautifulness as the norm, to the art which is beyond all description, concept and frame. So leads the concept of the sublime to the coloring, the formless and the performative. We can in modern art different practices of the concept of the sublime.