回眸审美自觉中的“崇高”之维——一种对德国古典美学中崇高范畴嬗演的考辨

发布时间：2018-09-17 14:24

【摘要】：从康德到黑格尔 ,“崇高”在美学乃至整个哲学沿革中的境遇牵系着人的境遇。无论是康德、席勒还是谢林 ,都是把“崇高”与“美”(优美 )作为审美判断或美感直观的两个性态有别的维度提出的 ;黑格尔依然沿用了作为审美范畴的“崇高” ,但他只是把它置于“美就是理念的感性显现”这一唯一被认可的审美维度下 ,赋予它以阐释“艺术前的艺术”的使命。美学在康德、谢林、黑格尔那里都只是价值祈向隐然可辨的哲学体系的有机构成部分 ,“美”和“崇高”的价值在怎样的分际上被确认取决于不同哲学体系的价值重心。一如悲剧的衰微 ,“崇高”违别我们已经够久了。“美”正渐次沦落为当年叔本华所鄙弃的那种“媚美” ,与“告别崇高”的轻佻呼叫相唱和的是熹音湛湎中的人们的泛艺术嬉戏。然而 ,文化危机的消息毕竟早就报告着某种可能的运会 ,它在警示人们作必要的人文自审时也提撕人的审美心灵再度唤起那富于悲情的“崇高”的一维。
[Abstract]:From Kant to Hegel, the circumstances of sublimity in the evolution of aesthetics and philosophy. Whether Kant, Schiller or Schelling, put forward "sublime" and "Beauty" as aesthetic judgment or aesthetic intuitionistic two sexual state, Hegel still used as aesthetic category of "sublime". But he puts it under the only accepted aesthetic dimension of "beauty is the perceptual manifestation of the idea", and endows it with the mission of explaining "art before art". Aesthetics in Kant, Schelling and Hegel are just the organic components of the philosophical system in which the values of "beauty" and "sublime" are recognized by the different philosophical systems. Like the decline of tragedy, sublimity has been for a long time. Beauty was gradually reduced to the kind of flattering beauty disdained by Schopenhauer at that time, and it was the pan-art of the people who indulged in the song of "farewell to sublime" that played with the flirtatious cry of "farewell to sublime". However, the news of the cultural crisis, after all, has long reported a possible event, which, while warning people to make the necessary humanistic self-examination, also raises the idea that the aesthetic mind of tearing people up again evokes the one dimension of the "sublime" which is full of sadness.
【作者单位】：中国人民大学中文系
【分类号】：B83

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