摘要
蒋孔阳在《美学新论》中将美学研究的出发点定位于人对现实的审美关系,肯定了美是一种关系范畴,从而为解决美学的根本问题提出了一个可取可行的方案。他确认关系范畴在美学研究中的有效性,及其作为一种传统在中国古典美学中源远流长。“多层累的突创”是蒋孔阳具有总结性的核心概念,显而易见,其本根还是通往人对现实的审美关系,这一概念正是蒋孔阳对于作为关系范畴的美论的进一步提高和升华。
In A New Treatise on Aesthetics,Jiang Kongyang sets the starting point of aesthetics study at the aesthetic relationship of human beings to reality,affirming that beauty is a relational category,and thus proposing a desirable and feasible solution to the fundamental problem of aesthetics.He confirms the validity of the relational category in the study of aesthetics,and that it has a long history in classical Chinese aesthetics as a tradition.The concept of“multi-layered and exhausting creation”is Jiang Kongyang's central concept,and it is obvious that its root is still the aesthetic relationship between human beings and reality,and this concept is Jiang Kongyang's further enhancement and sublimation of the theory of beauty as a relational category.
出处
《探索与争鸣》
CSSCI
北大核心
2023年第11期154-159,195,共7页
Exploration and Free Views
关键词
关系范畴
美论
蒋孔阳
美学思想
风标
relational category
aesthetics
Jiang Kongyang
aesthetic thought
windsock
