摘要
本文是把审美自律性植入儒家美学的一次尝试。中国古代的儒家美学以审美道德主义为主,但暗含审美自律的预设。古人对暴君赫连勃勃的审美与道德的双重评价的暧昧态度,显示出审美愉悦相对于道德情感的可能的独立性。近代中国知识分子从理论上认识到审美自律论,却在审美实践中不接受审美自律性,而本文欲以“舞雩之乐”与“清风明月之境”为植入点,将审美自律论植入儒家美学中。这一植入的目的在于,通过审美自律论的植入,可以使审美和艺术在中国文化中获得独立和尊严,从而走出审美道德主义和艺术功利主义的传统。
Chinese Confucian aesthetics takes aesthetic moralism as its priority, and yet it also presupposes aesthetic autonomy. The ancients applied a double standard to evaluate the tyrant Helian Bobo, from both the aesthetic and moral perspectives, revealing a possibility that aesthetic pleasure is independent of moral feeling. Modern Chinese scholars have been theoretically aware of aesthetic autonomy but they refuse to accept it in practice. This paper attempts to start from the “music of the rain altar” and the “realm of refreshing breeze and the bright moon” to implant aesthetic autonomy into Confucian aesthetics in order to gain independence and dignity of aesthetic perception and arts in Chinese culture and therefore be free from the traditions of aesthetic moralism and artistic utilitarianism.
作者
刘旭光
Zhu Yuan
Liu Xuguang;Zhu Yuan(不详;the School of Foreign Languages at Renmin University of China)
出处
《孔学堂》
CSSCI
2021年第3期40-52,I0051-I0062,共25页
Confucian Academy
基金
2020年度国家社科基金重大项目“宋明理学与中国美学话语体系建构研究”(项目批准号:20&ZD048)阶段性成果
国家社科基金艺术学重大项目“中国近代以来艺术中的审美理论话语研究”(项目批准号:20ZD28)阶段性成果。
关键词
赫连勃勃
儒家美学
审美自律
Helian Bobo
Confucian aesthetics
aesthetic autonomy
