审美人类学并非对于"美"的纯粹凝视,亦非流于对其文化事项的收集,而是关于审美和艺术的物质基础,及其"美"之规定性的同构性的系统性研究.在美学与人类学的交流互补中,审美文化这一聚合性对象根据其表现形态、场域性和心理机制等层面,主要形构为如下三个方面:(1)多元化的艺术形态,包括原始艺术抑或"艺术前的艺术"、日常生活中的艺术、仪式中的艺术,以及当代富于杂糅性和流动性的艺术形态;(2)地方性审美经验;(3)审美偏好.审美人类学是关于审美和艺术形构机制及其复杂性的探讨,在人类学与美学的契合与边界之处,审美人类学的研究对象和研究理念与方法都将呈现出新的气象,并由此开拓出当代美学新的研究格局与未来.%Aesthetic anthropology is not a pure gaze on"beauty"; nor is it confined to the col-lection of cultural items. It is about a systematic study on the material basis of aesthetics and art and the isomorphic nature of"beauty". In complementary exchanges between aesthetics and anthropology, aesthetic culture as an aggregate object involves the following three aspects in terms of manifestations, fields and psychological mechanisms: (1) diversified art forms, including primitive art or"art before art", art in everyday life, art in ceremonies, and contemporary miscellaneous and fluid art; (2) local aesthetic experience; (3) aesthetic preferences. Aesthetic anthropology studies the mechanisms and complexity of aesthetic and artistic formations. At the convergence of anthropology and aesthetics exist new possibilities for aesthetic anthropology in research objects, ideas and methods, which will create a future of new research patternsfor contemporary aesthetics.
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