重构美的形而上学:以陈望衡境界本体论美学为例

发布时间：2019-02-16 04:42

【摘要】：在当代,虽然美学领域反本质主义倾向成为主流,但美学作为一门仅具经验真实性的学科,本体论研究依然是其获得存在合法性的必要保证。陈望衡的境界本体论,是新时期以来中国美学最重要的理论创获之一,其价值主要表现在三个方面:一是就美学理论的自身建构而言,它通过哲学本体、美本体、艺术本体的严格区分,为美学学科确立了独立的立论基础和专属的研究区域;二是就其与中国古典美学的关联而言,它赋予了中国传统的境界说现代理论形态,使原本只对艺术有效的概念向自然、人生问题敞开;三是就中西美学的会通而言,它以境界贯通中西,使其由被民族和地域限定的命题跃升为具有普世价值的命题。但同时必须指出的是,境界本体论无论其理论构成还是对其现代性的认知,仍然存在诸多问题,有待进一步深化和拓展。
[Abstract]:In contemporary times, although anti-essentialism in the field of aesthetics has become the mainstream, aesthetics as a subject with only empirical authenticity, ontology research is still the necessary guarantee for its legitimacy of existence. Chen Wangheng's realm ontology is one of the most important theoretical gains in Chinese aesthetics since the new period. Its value is mainly manifested in three aspects: first, as far as the self-construction of aesthetic theory is concerned, it passes through philosophical ontology and beauty ontology. The strict distinction of the art ontology establishes an independent theoretical basis and a exclusive research area for the aesthetic discipline. Second, as far as its connection with Chinese classical aesthetics is concerned, it endows the Chinese traditional realm theory with the modern theoretical form, which makes the concept, which was originally only effective for art, open to nature and life problems. Third, as far as the understanding of Chinese and Western aesthetics is concerned, it connects China and the West with the realm, and makes it jump from a proposition limited by nationality and region to a proposition of universal value. But at the same time, it must be pointed out that there are still many problems in the theory of realm ontology, whether its theoretical composition or cognition of its modernity, which need to be further deepened and expanded.
【作者单位】：北京师范大学哲学与社会学学院;
【基金】：教育部人文社会科学重点研究基地重大项目《中国美学通史(第一卷、第二卷)》(2006JDXM012)研究成果
【分类号】：B83

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