摘要
近代启蒙美学是二十世纪中国美学的真正源头。近代启蒙美学的三个理论支点是康有为的哲学、严复的进化论和王国维的审美境界说。梁启超和王国维的美学代表了二十世纪中国美学的两个价值取向:梁启超主张国家本位的民族国家主义,而王国维主张个人本位的意志主义。民族国家主义的美学总是处在美学发展的中心,但它从来没有成功的美学实践,王国维关心个人精神状态,寻求心灵慰藉的美学精神构成了中国美学精神的真正内容。这两个传统的对立既是中国传统美学“载道派”和“性灵派”的延伸,又揭示了:走上理性主义历程的中国现代美学,它的一只脚已经跨出了中世纪,另一只脚刚刚抬起来。
The modern enlightenment aesthetics was the real origin of the aesthetics in China in the 20th century. The three theoretical pillars of the modern enlightenment aesthetics were Kang Youweis philosophy, Yan Fus theory of evolution and Wang Guoweis theory of aesthetic realm. Liang Qichaos and Wang Guoweis aesthetics represented two different values. Liang advocated his nation-based doctrine of nation and country, while Wang advocated his individual-based doctrine of willpower. Liangs aesthetics was always at the center of the development, but never had any successful practice; Wangs aesthetics showed concern for individual intellectual state, sought comfort for the soul, which became the real contents of the Chinese aesthetics. The contradiction of these two traditions was both the extension of the Chinese traditional aesthetics and a demonstration of modern Chinese aesthetics embarking on the march of rationalism. It had moved one foot out of the middle ages, and was beginning to raise the other foot.
出处
《南京理工大学学报（社会科学版）》
2004年第5期27-31,共5页
Journal of Nanjing University of Science and Technology：Social Sciences
关键词
启蒙美学
审美境界
意志主义
enlightenment aesthetics
aesthetic realm
doctrine of willpower
