設計與藝術的界線--藝術與設計的自律與他律

太陽神性和酒神性的二元元素，被用於解釋創造性作品中的他律和自律概念。希臘神話中的阿波羅是光明、邏輯、秩序和理性之神，代表著他律，而戴奧尼索斯混亂、本能和情感的酒神，則代表著自律。這兩位神並非敵對，而是彼此的對比。弗里德里希˙尼采認為適合用於闡明他對審美的看法。在他的《悲劇的誕生》中，他將太陽神性稱為平衡、自覺和理想的美，而酒神性是原始衝動、狂亂的本質與狂喜。

Apollonian and Dionysian are the dichotomy elements which are used to explain the concept of heteronomy and autonomy in creative works. The God of light, logic, order and ration, Apollo in Greek mythology stands for heteronomy while Dionysus, the god of wine, chaos, instinct and emotions represents autonomy. These two gods were no rivals but contrast to each other, which Friedrich Nietzsche found it suitable to clarify his opinion of aesthetic. He referred Apollonian to the beauty of balance, self-conscious and ideal, and Dionysian to primitive urges, frantic nature and ecstasy in his The Birth of Tragedy.  

根據尼采的觀點，太陽神性追求外觀的宏偉美麗，創造了平靜的幻覺屏障，抵禦現實的痛苦和恐懼。另一方面，酒神性釋放出最狂野的人性衝動，不僅帶來愉悅，也帶來毀滅的痛苦。其對人的本質的認識，破壞了個體性原則。即是，所有放縱、慾望與痛苦為人類共有的本質，在極度放大後，個體將與集體消融，不復存在。此二者特徵雖然彼此相反，卻有同樣逃避和尋找解脫的目標。因此，尋求夢與醉的狀態是人類本能，通過藝術的他律和自律，為人類的精神世界創造救贖。
According to Nietzsche’s view point, Apollonian is the pursuit the magnificent beauty of appearance, which creates the tranquil illusion shield against the anguish and terror of reality. On the other hand, Dionysian unleash the wildest impulse of human nature that brings not only pleasure but also agony of destruction. The recognition of the essence of human destroys the principle of individuation. That is, indulgence, lust and pain are the essences of all mankind. Individual will dissolve in the collective and no longer exist when these human essences are exceeded to the extreme. These two characteristics, though opposing to each other, held the same goal to escape and to look for extrication. Therefore, it is human instincts to seek the status of dream and drunkenness and to create salvation for human beings’ spiritual world through heteronomy and autonomy of art.

隨著社會的變遷，藝術作品和設計皆打破了太陽神性與酒神性的平衡。由於當代藝術作品，無論是在畫廊、博物館還是手工藝市集，必須具有可交換的商品性質。因此，其自律衰微。藝術創作者必須修改其作品的路線，以適應外部干擾。創作者壓制內心自我解放的渴望，以滿足公眾的要求。相反的，自律在產品設計中得到發展。設計師的自決和內在驅力將他們的情感和思想投射在其設計中。自律越佔據主導地位，設計師的創作就越不拘其功能和實用要素。

Both art works and product design break the balance of Apollonian and Dionysian as the society changes. Contemporary art works, whether in galleries, museums or craft fairs, are asked to acquire the quality of commodities which could be exchanged. Therefore, the autonomy of art works decay. Art works creators have to modify the route of their works to adapt the external interference. Creators suppress the inner desire for self-liberation to follow the request of the public. On contrary, autonomy develops in product design. The self-determination and internal drive of designers cast their emotions and thoughts on their designs. The more autonomy is in the dominant position, the more designers create their works regardless of the functions and practical factors.

藝術與設計的融合，他律與自律之間的拉鋸戰以及太陽神性與酒神性的脆弱和諧表明藝術，或者說所有創造性作品，其定義就像懸在空中的一條線。它隨風而動和搖擺不定，顯示著藝術在媒介、主題、詮釋和價值上的靈活與自由。

The fusion of art and design, the tug of war between heteronomy and autonomy and the fragile harmony of Apollonian and Dionysian show that the definition of art, or say all creative works, is like a line hung in the air. It shifts and swings with the wind which demonstrates flexibility and liberty in medium, subjects, interpretations and value of art.

參考資料：

The Dionysian and the Apollonian in Nietzsche: The Birth of Tragedy Alexander Gatherer, Cardiff University

https://theoxfordphilosopher.com/2014/08/25/the-dionysian-and-the-apollonian-in-nietzsche-the-birth-of-tragedy/

https://en.wikipedia.org/wiki/Apollonian_and_Dionysian

https://www.odiist.com/single-post/2018/08/15/The-Heteronomy-and-Autonomy-of-Art-and-Design

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