中国现代美学的客观性假象问题

发布时间：2018-08-20 13:19

【摘要】：打破古代和谐的审美封闭,以现象化再现拓展人世之美和以抽象化表现深掘人心之美,这是中国现代美学两极扩展的历史基础。为了应对这种发展格局,向现代延滞的古代美学衍化出一种新的理论形态,这种理论以传达艺术教化论的主观意图为宗旨,但却以社会和理性、认识和典型等范畴为主轴,建立起一个与现代美学认知再现论相似的体系,导致文艺创作概念化、公式化的盛行,此即"客观性假象"。然而中国美学在抵制这个理论体系的同时,并没有划清它与现代美学认知再现论的历史界限,反而在混同不辨的情况下对审美客观性采取了绝对排斥的态度,形成对客观性假象的误认,导致中国当代审美意识的萎缩和社会生活的消退。中国美学应当反思和揭示客观性假象问题,并以对审美客观性的深入论证为基石,走出古典主义在纯净之美和实利非美之间两极摆动的周期循环。
[Abstract]:It is the historical basis of the bipolar expansion of modern Chinese aesthetics to break the aesthetic closure of ancient harmony, to expand the beauty of the world with phenomenal representation and to deeply dig the hearts of the people with abstract expression. This is the historical basis of the expansion of the two poles of Chinese modern aesthetics. In order to cope with this kind of development pattern, a new theoretical form has been developed into the ancient aesthetics, which aims to convey the subjective intention of art enlightenment theory, but takes social and rational, cognitive and typical categories as the main axis. The establishment of a system similar to the theory of cognitive reproduction in modern aesthetics leads to the prevalence of conceptualization and formulation of literary and artistic creation, which is called "objective illusion". However, while resisting this theoretical system, Chinese aesthetics does not draw a clear historical boundary between it and the cognitive reappearance theory of modern aesthetics, on the contrary, it adopts an absolutely exclusive attitude towards aesthetic objectivity in the mixed situation. The false perception of objectivity leads to the atrophy of Chinese contemporary aesthetic consciousness and the extinction of social life. Chinese aesthetics should reflect on and reveal the false appearance of objectivity, and take the in-depth argumentation of aesthetic objectivity as the foundation stone, and step out of the cycle of classicism wobbling between pure beauty and materialistic non-beauty.
【作者单位】：首都师范大学文学院;
【分类号】：B83

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