回顾与展望——中国古典美学之路

发布时间：2018-04-24 00:40

本文选题：中国古典美学 + 中国美学　；参考：《河北大学学报(哲学社会科学版)》2009年01期

【摘要】：中国美学现代性问题是美学界的一个老话题,但也是一个新问题。如果把中国美学现代性定位为西方美学"东渐"以来与中国本土美学发生碰撞、交流,由此产生了不同于中国古典美学的新的话语形态和理论范畴,造成了中国美学原本发展方向的新变,从而呈现出一些具有西方美学现代性的因子,那么,从王国维、梁启超、蔡元培、鲁迅、朱光潜、宗白华一直到今天的实践美学、后实践美学、新实践美学等百年来的中国美学研究,都可算作这一题域。如果把中国美学现代性定位为中国美学学人为适应美学现代发展的需要而自觉进行的旨在抵制西方美学话语霸权、建设有中国古典美学根柢、中国美学话语特色且可与西方美学进行对话的相关美学研究,则主要始于上个世纪末期,距今只有约10年时间。百余年的中国美学现代性研究给我们留下了很多,成为我们今日进行中国美学现代性建设弥足珍贵的一笔遗产;近10年来的中国美学现代性研究,则形态纷呈,思想各异,成为我们今日思考美学现代性问题的首要出发点。这里刊出的三篇文章,就是从后一种视角,对中国美学现代性研究做深层挖掘,其中刘桂荣是从中国古典美学的研究现状出发,分析这种研究存在的问题和应该采取的路子;曹晖是从美育的角度,对中国美育现代性建设的归纳扫描,总结经验,分析不足;谷鹏飞是从实践美学、后实践美学、新实践美学论争的角度,分析三派美学对中国美学现代性建设的贡献与不足。希望能有更多的专家和学者参与到这一问题的讨论中来,进一步推进中国美学的现代性建设。
[Abstract]:The modernity of Chinese aesthetics is an old topic in the field of aesthetics, but it is also a new one. If the modernity of Chinese aesthetics is defined as the collision and communication between the western aesthetics and the Chinese native aesthetics since the "eastward development", there will be a new discourse form and theoretical category different from the classical Chinese aesthetics. This has resulted in a new change in the original direction of development of Chinese aesthetics, thus presenting some factors with the modernity of Western aesthetics. Well, from Wang Guowei, Liang Qichao, Cai Yuanpei, Cai Yuanpei, Cai Yuanpei, Cai Yuanpei, Cai Yuanpei to today's practical aesthetics, Post-practical aesthetics, new practical aesthetics and other hundred years of Chinese aesthetic research, can be counted as this domain. If the modernity of Chinese aesthetics is defined as the purpose of the Chinese aesthetician to resist the hegemony of western aesthetic discourse and to build Chinese classical aesthetics in order to meet the needs of the modern development of aesthetics, The relevant aesthetic studies with Chinese aesthetic discourse characteristics and dialogue with western aesthetics mainly began at the end of the last century and are only about 10 years old. The study of Chinese aesthetic modernity for more than a hundred years has left us a lot, and has become a precious legacy for us to carry out the construction of Chinese aesthetic modernity today, while the research on Chinese aesthetic modernity in the past 10 years has been characterized by various forms and different ideas. It has become the primary starting point for us to think about the modernity of aesthetics today. The three articles published here are to dig deeply into the study of Chinese aesthetic modernity from the latter angle of view, in which Liu Guirong starts from the current research situation of Chinese classical aesthetics and analyzes the existing problems and the ways to be adopted in this study. Cao Hui is from the angle of aesthetic education, sums up the experience, analyzes the insufficiency from the angle of aesthetic education, sums up the experience of the modern construction of Chinese aesthetic education, and argues from the angle of practical aesthetics, post-practical aesthetics and new practical aesthetics. This paper analyzes the contributions and deficiencies of the three schools of aesthetics to the construction of Chinese aesthetic modernity. It is hoped that more experts and scholars will participate in the discussion of this issue and further promote the construction of modernity in Chinese aesthetics.
【作者单位】：河北大学艺术学院;
【分类号】：B83

【共引文献】