中国古典美学中的物、光、风

发布时间：2018-06-17 23:32

本文选题：古典美学 + 物　；参考：《求是学刊》2008年05期

【摘要】：美学是一门感性学。从这种学科的独特规定看,所谓的审美即是审形象,美的历史就是世界为人呈现形象的历史。那么,形象是如何产生的?自康德以来的西方美学,以及当代中国的主体论美学,对这一问题的认识基本上是围绕事物的表象与主体建构的关系展开的,即:人是万物的赋形者,形象的主观性就是它的审美性。但是在中国古典美学中,这种看法却值得商榷。比如对于中国道家而言,物不是僵死的客体,而是内蕴生命的有机体。这种包蕴生命动能的物具有向形象开显的内部潜能。同时,除人之外,自然本身也存在着为物赋形的力量,如风与光。这种"物自显象"的观点,搁置了美学研究中无所不在的主体因素,将美置于自然物"本己的坚固性中"。于此,"人化"不再成为自然向美生成的唯一因素,对象自身的审美价值得到了肯定。
[Abstract]:Aesthetics is a science of sensibility. Judging from the unique rules of this discipline, the so-called aesthetic is the image of the trial, and the history of beauty is the history of the world being presented with an image. So how did the image come into being? The western aesthetics since Kant, as well as the subject aesthetics of contemporary China, basically focus on the relationship between the appearance of things and the construction of the subject, that is, man is the formative of all things. The subjectivity of image is its aesthetic nature. However, in Chinese classical aesthetics, this view is open to question. For example, for Chinese Taoists, things are not frozen objects, but living organisms. This kind of thing which contains the kinetic energy of life has the internal potential to open to the image. At the same time, in addition to human beings, nature itself also has the power to form things, such as wind and light. This view of "self-representation of things" puts aside the omnipresent subjective factors in aesthetic research and puts beauty in the "firmness of the self" of natural objects. In this way, humanization is no longer the only factor of natural beauty, and the aesthetic value of the object itself has been affirmed.
【作者单位】：北京师范大学价值与文化研究中心;
【分类号】：B83-092

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