Page 219 - 《社会》2026年第4期

社会·2026·4

thereby forming a self鄄sufficient wholeness of the work； yet it must also remain
connected, through the “the detour of the whole，” to the larger totality of life， so
as to avoid degenerating into a closed and impoverished formalism. Following this
line of inquiry， the article further examines the different historical structures of
subjectivity embodied by Michelangelo， Rembrandt， and Rodin. Michelangelo
represents the burden imposed upon individual life by supra鄄individual universal
form in the Renaissance， revealing the tragic personality of an individuality whose
formation remains incomplete. Rembrandt， through portraiture， light and shadow，
facial expressions， and inner life， presents the rise of inwardness， the individuation of
personality， and the formation of the modern subject in early modern society.
Rodin， through movement， the laboring body， and fleeting gesture， inscribes into
bodily form the speed， stimulation， rupture， and sensory unease of modern urban
life， showing how the modern subject seeks to recover unity in a world of flux. In
this sense， Simmel’s writings on art do not reduce art to its social background；
rather， they reveal how artistic form refracts social form， types of subjectivity， and
the spirit of an age. The significance of art in modern society， therefore， lies not in
offering an illusory escape from reality， but in giving new form to fragmented life，
enabling individuals to reconstruct meaning， dignity， and a form of everyday
heroism within the divided experience of modern existence.
Keywords：art for art’s sake，frame，form，life，heroism

总算要开始了。 艺术要开始了。 在每天的生活节奏与生存
必要中活着的人，同时又能够适逢艺术的开始，这该是怎样的
幸福啊！ ……艺术从一开始就为我们再次创造了世界。 啊，对
了，一个世界被重新创造出来，源源不断地。
（北川东子，2002：189-190）
一、 引言

作为古典时代最具艺术气质的社会学家， 齐美尔以其印象主义风
格的书写为后世留下了大量涉及文学、音乐、绘画、雕塑、戏剧等广泛领
域的评论文章， 由此凸显了其社会学的美学维度（ Frisby，1992；Davis，
1973）。 长期以来，齐美尔因对大都会生活、货币哲学及文化悲剧的思考
而闻名，然而他对自中世纪到 20 世纪初欧洲文化史上的艺术运动与艺

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