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作为“唯物论全书”中美学研究的代表性著作,日本唯物论研究会重要成员甘粕石介的《艺术论》对蔡仪美学思想构成了重要影响,并成为蔡氏留日归国后建构马克思唯物主义新美学的样本参照。在资料奇缺的情况下,正是甘粕石介的美学思想成为蔡仪先后构筑《新艺术论》与《新美学》的思想资源和理论底色。甘粕石介《艺术论》不仅在思维路径上为蔡仪提供了在“唯物主义立场”上重建“新美学”的入口,还在“美”与“真”、“现实主义”与“客观”“典型”的观念方法上明示了方向。蔡仪与甘粕石介在美学谱系上的这种理论亲缘与代际关系,既呈现出特殊年代“异邦之音”在中国的回旋与延续,又在一定程度上表征着马克思主义美学理论自俄苏到日本再到中国的一条曲线流经历程。
As a representative work on the study of Aesthetics in the Book of Materialism, the “theory of art” by Gansu Meishan, an important member of Japan’s Materialism Research Institute, has an important influence on Cai Yi’s aesthetic thoughts and has become a foundation for Chua’s stay in Japan after returning to Japan Sample Reference of New Materialism Aesthetics in Marxism. In the case of lack of information, it is the aesthetic thought of Gansu Meisong that has become the ideological resource and the theoretical background for Cai Yi to construct “New Art Theory” and “New Aesthetics.” The theory of art of Gan Meishi Shi Jieshi not only provided Cai Yi with the entrance to reconstruct “new aesthetics ” in “materialist standpoint ” on the path of thinking, but also in “beauty” and “truth” “Realism ” and “Objective ” “Typical ” concept and method of expression on the direction. This theoretical affinity and intergenerational relationship between Cai Yi and Gan Meishi Shi Jie in the pedigree of aesthetics not only show the spiral and continuation of the “Voice of Other Nations” in China in a special era but also characterize the theory of Marxist aesthetics since Russia and the Soviet Union to Japan to China again a curve flows through the process.