中西审美现象学的时空结构差异

发布时间：2019-01-10 07:41

【摘要】：杨春时认为,现象学作为哲学方法论是领会存在意义的途径,最终走向审美现象学;而中华美学认为审美是体道的方法,具有现象学的性质;它通过感兴、真情、意象、妙语等环节,使道得以显现。仲霞指出,西方审美现象学具有时间性倾向,经由对现实时间的超越把握存在的意义,最后向空间性审美现象学转化;中华审美现象学则具有空间性倾向,经由对现实空间的超越把握道的意义,在现代化的过程中向时间性审美现象学转化。毛宣国梳理了80年代以来自觉运用现象学观念与方法来阐释中国传统美学"意象"理论的三位代表人物叶朗、张祥龙、杨春时:叶朗立足于中国传统美学,整合西方现象学与中国传统意象美学的理论资源,提出了"美在意象"的理论;张祥龙以西方存在论现象学为依据,提出"现象本身是美的"的命题,将之与中国古代"意象"审美经验的阐释紧密联系;杨春时则以中国当代美学发展的理路与需要出发,提出"审美意象是现象学的现象"的观点,并以此为根据阐发中国"意象"美学的内涵。
[Abstract]:Yang Chunshi holds that phenomenology, as a philosophical methodology, is the way to understand the meaning of existence and eventually to aesthetic phenomenology, while Chinese aesthetics holds that aesthetics is the method of body and Tao and has the nature of phenomenology. It makes the Tao appear through the links of feeling, truth, image, witty speech and so on. Zhong Xia points out that the western aesthetic phenomenology has the tendency of time, through surpassing the real time, grasping the meaning of existence, and finally transforming to the spatial aesthetic phenomenology; Chinese Aesthetic Phenomenology has the tendency of space, which is transformed into temporal Aesthetic Phenomenology in the process of modernization by transcending the real space and grasping the significance of Tao. Mao Xuanguo has combed the three representative figures of Chinese traditional aesthetics, Ye Lang, Zhang Xianglong and Yang Chunshi, who have consciously used phenomenological concepts and methods since the 1980s to explain that Ye Lang is based on traditional Chinese aesthetics. Integrating the theoretical resources of western phenomenology and Chinese traditional image aesthetics, the author puts forward the theory of "beauty in image"; Based on the phenomenology of western existential theory, Zhang Xianglong puts forward the proposition that "phenomenon itself is beautiful", which is closely related to the interpretation of the aesthetic experience of "image" in ancient China. Yang Chunshi put forward the viewpoint that "aesthetic image is a phenomenological phenomenon" based on the rational way and need of the development of Chinese contemporary aesthetics, and explained the connotation of Chinese "image" aesthetics on the basis of it.
【作者单位】：厦门大学人文学院;
【分类号】：B83-069

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