尼采美學出現於十九世紀末，正值歐洲社會的大變動期。在叔本華哲學和華格納音樂的啟示下，尼采意識地凸顯藝術創作狀態－酒神的非理性和縱慾狂歡，為整個歐洲文明長期陷入理性壓抑中尋求出路。從這樣的思想綱領，尼采美學一方面重新界定了藝術起因和藝術性質，主張藝術外貌是一種虛擬的幻象世界，內蘊複雜的和矛盾的個體「存在」情境，另一方面以「自我解體」之表現性論述，打破歐洲文明所強調的「概念表現系統」-「思想之我的實體性」之成規。
因此，本文重點即透過探討尼采彰顯古希臘的非理性酒神精神，分析他批判新古典主義藝術觀的原因，透視尼采、叔本華和華格納之關係，評述他為何那麼強調藝術家病態的創造狀態，以及指出不定性和片斷性的文字書寫方式同廿世紀前衛藝術的關聯等問題，並做出如下結論：尼采美學不僅是十九世紀末西方文化之轉變的主要推手，而且也是廿世紀描述現象、凸顯醒悟和破解神話等文化思潮的開路先鋒。
非理性、差異、外貌、我思、幻象、前衛、非形式、理性
Nietzscheism appeared in the late nineteenth century while Europe was facing a great societal change. Under the inspiration of Schopenhauer's philosophy and Wagner's music, Nietzscheism deliberately emphasized the status of art creation - a kind of Dionysian irrationality and debauchery - in order to find a way out from the long-term suppression of European civilization. With this purpose in mind, Nietzsche's artistic theory, on the one hand, redefined the origin of art and artistic characteristics. He stated that the appearance of art is a kind of virtual simulation, which contains complex, paradoxical "Existence" of individual. One the other hand, he broke the system of concept representation, which was the center of European civilization, then, and replaced it with his theory of "Dissolution of the Cogito".
This paper analyzes the reasons that Nietzsche criticized the aesthetic perspective in Neo-classicism through his effort on propagating the Dionysian spirit. The paper further discusses the relation among Nietzsche, Schopenhauer, and Wagner, so to realize why he emphasized the sick status of art creation and the connection between his segmental genre in writing with the Avant-garde movement in the twentieth century. The paper concludes that Nietzscheism is not only the force that drove the change in the Western culture in the late nineteenth century, but also a cultural pioneer that had provided a guideline to describe phenomenon, emphasize disenchantment, and break myths in the twentieth century.
Irrational, Difference, Appearance, Cogito, Illusion, Avant-garde, Informel, Rationality
