摘要
对于“美是什么”的追问,在古今中外的美学研究中始终都占据着举足轻重的地位,由此看出它对揭示美的本质之重要。其中的一个观点“美是意象”,在中、西方美学中都能得到很大程度上的证成,说明这一命题具有很大的普遍性,能很好地解释更多的审美现象。但当我们将此观点运用到犹太美学中时,却遇到了阻碍;因为根据犹太文明的传统,美来源于God,God是无形的,也就是说,美由无形的东西激发而成,是“无象之美”;由此就形成了一个二律背反。该二律背反促使我们进一步思考“美是意象”这一命题的普遍性,并运用现象学方法将审美活动追溯到胡塞尔意义上的“前谓述判断”领域,即“美”是内时间意识中纯粹的“时间化”;通过犹太美学的反向论证,使“美是意象”这一命题的合理性得到更大程度的证明。
As to the quest“what does beauty mean?”,it plays an important role in the field of aesthetics study through the history,accordingly the nature of beauty is very important.One of the opinions is“aesthetics means imagery”,it is always proved in Chinese aesthetics and western aesthetics,telling us that this proposition is universal and can explain more aesthetical phenomena.But when we use it in Jewish aesthetics,impediment occurs.Because beauty comes from God according to Jewish tradition;God is invisible,so beauty is aroused by something invisible,meaning“invisible imagery”.Therefore an antinomy emerges.We must rethink the proposition of“beauty means imagery”and lead it to the field of Husserl’s“prepredicative judgment”.It means:“beauty”is a pure“timelization”in the consciousness of the inner time.Going through the reverse proving of Jewish aesthetics,the rationality of this proposition has been proved at the more extent.
基金
国家社科基金项目“康德宗教哲学情感分析研究”(15XZJ008)的阶段性成果。
关键词
意象
无象
二律背反
犹太美学
时间化
Imagery
the Invisible Imagery
the Antinomy
Jewish Aesthetics
Timelization
