摘要
中国古典美学自本生根地就是一种"活生生"的生活美学,"生活"构成了中国古典美学的"原色"与"底色"。在全球美学聚焦于"生活"的主潮中,它可以为当下和未来的"全球生活美学"建构贡献出巨大的力量,其中最为关键的问题在于,一方面中国古典的美学传统是"生活的",另一方面中国古典的生活传统也是"审美的",这就为当下生活美学建构中存在的理论困境——如何超越物质与精神、身体与心灵、艺术与生活、审美与日常经验之间二元对立关系,提供了智慧和理论资源。在这一问题上,中国古人围绕着"物"建构起来的生活空间、方式和观念体系,具有不可替代的重要价值。刘悦笛提出,"物"之维度,是梳理中国古典生活美学的重要层面,特别是对明清美学而言,乃是"物的美学"极大发展的阶段,形成了一种围绕"物"的美学体系和独特的"长物"美学传统;"情"的复苏与"物"的丰富,构成了此种"物之体系"(the system of objects)的一体两面,是"物"与"心"的内在勾连之所在,这就为当下的"生活美学"超越实践(生产)美学敞开了方便之门。乔迅在阐释明清时期的器物及其美学观念时,格外强调人与物的互动,尤其是器物凭借其"魅惑的表面",同人之间所建立起的"器物—身体"的互动互惠关系;在这一关系中,"装饰"首先意味着感官的吸引和愉悦,进而引起学者和玩家的移情与同思,借此调动身心的整体自觉。赵强认为,"物",尤其是"长物",业已成为明清时期衡量生活质量、审美品位和人生境界的重要尺度;也正因此,围绕着"物"的尺度,不同阶层人士之间展开了生活、观念和话语方面的角逐。
The Chinese classical aesthetics has been a kind of “living” aesthetics of life from its onset. “Life” constitutes the “primary color” and “basic color” of the Chinese classical aesthetics. In the mainstream of global aesthetics focusing on ＂life＂, it can contribute a great deal to the current and future construction of ＂global life aesthetics＂. The most crucial issue is that on the one hand, the Chinese classical aesthetic tradition is ＂living＂ ; on the other hand, the classical Chinese life tradition is also ＂aesthetic＂, which is why it can offer wisdom and theoretical resources for solving the theoretical dilemma in the current aesthetic construction of life： how to transcend the dualistic relations between the material and the spiritual, body and mind, art and life, aesthetics and daily experience. On this issue, the ancient Chinese had constructed the living space, lifestyle, and conceptual system centering on ＂material＂, which had an irreplaceable value. Liu Yuedi proposes that the dimension of ＂object＂ is an important aspect of combing the aesthetics of Chinese classical life. Es- pecially for the aesthetics of the Ming and Qing Dynasties, it was the stage of great development for ＂the aesthetics of things＂, forming a kind of aesthetic system of ＂things＂ and the unique aesthetic tradition of ＂long objects＂. The recovery of ＂love＂ and the richness of ＂things＂ constitute the two sides of this ＂System of Objects＂, which is the connection between the ＂object＂ and the ＂heart＂, and opens the door of convenient access for the current ＂life aesthetics＂ to transcend the practical （productive） aesthetics. When explaining the artifacts and their aesthetic concepts from the Ming and Qing Dynasties, Jonathan Hay particularly emphasizes the interaction between people and objects, especially the ＂object-body＂ interaction and reciprocity between the artifacts and human beings with the participation of the ＂enchanting surface＂. In thi
出处
《江苏行政学院学报》
CSSCI
北大核心
2018年第4期36-42,共7页
The Journal of Jiangsu Administration Institute
