摘要
中国传统美学的现代发生发展既受制于中国传统社会结构的现代转型,又受制于其自身包含的现代性困境,还受制于西方美学特别是马克思主义美学的影响。这种状况使得建构一种适合于现代中国社会和文化的“中国美学”变得十分困难。中国传统美学自20世纪初王国维和鲁迅对其进行审美“主体性”的现代奠基以来,一直影响着后世100多年中国美学的发展。王国维和鲁迅对于传统美学的复杂的“批判”态度,虽在西方美学确立话语霸权和马克思主义美学被推为座上宾的情况下得到缓解,却在后现代美学“反现代”、“反传统”的强势入侵下再一次得到张扬。鉴于此,今日中国美学的建设在方向上就不可能还是一种单一的“反传统”或“回归传统”,而要考虑诸多制约因素。
The modern occurrence and development of Chinese traditional aesthetics are limited by the modern transition of the traditional social structure of China, the modernity embarrassment of itself and also the effect of Western aesthetics especially Marxist aesthetics. So, it＇s very difficult to found a kind of Chinese Aesthetics which adapt to the society and culture of modern China. At the beginning of twentieth century, Wang Guo Wei and Lu Xun laid a foundation of aesthetic subjectivity of Chinese traditional aesthetics and had a great impact to the development of Chinese aesthetics of the neset 100 years later. Their intricate critical attitude to traditional aesthetics was unfastened with the canonizing of Western aesthetics and Marxist aesthetics. However, it was intensified when the tide of anti-modern and anti-tradition of post-modern aesthetics invaded Chinese culture. Based on this, the development of current aesthetics is not simply anti-tradition or returning to tradition but should take into account many interrelated factors.
出处
《宝鸡文理学院学报（社会科学版）》
2006年第3期16-20,共5页
Journal of Baoji University of Arts and Sciences：Social Science Edition
关键词
中国传统美学
中国现代美学
美学现代性
Traditional Chinese Aesthetics
Modern Chinese Aesthetics： Aesthetic Modernity
