摘要
在中国传统哲学和美学中,“无”是一个涵义深广的概念。庄、禅美学具有极强的“本无论”色彩,它立足于对人生困境的超验性和本元性反思与解脱,并演绎到艺术之中,成为艺术境界和艺术创构的审美法则。“无”的艺术传达同时也表明,中国美学的“本无论”和“存有论”是辩证统一的。有人用西方现代心理学的“无意识”概念解释庄、禅之“无”影响下的“无意于佳乃佳”的审美法则,是对中国美学“本无论”精神的误读。
In the traditional Chinese philosophy and aesthetic, 'nothing' is a profound concept. The aesthetic of Zhuangzi and Buddhist schools has strong 'original nothing' color, which stands on the self-examination and the extrication of the super examination nature, the original nothing theory of the difficult position of human life and is deduced into the art to become the aesthetic rule of the art compass and the art construction. Meanwhile, the art communication of 'nothing' shows that the 'original nothing theory' and the 'existence theory' of the Chinese aesthetic are dialectically united. That some people use the 'none consciousness' concept of the modern Western psychology to explain the aesthetic rule of the 'accidentally paying attention of good is good' under the influence of Zhuangzi and Buddhist schools is certain misunderstanding of the 'original nothing theory' spirit of the Chinese aesthetic.
出处
《郑州大学学报（哲学社会科学版）》
CSSCI
北大核心
2002年第5期108-112,共5页
Journal of Zhengzhou University:Philosophy and Social Sciences Edition
关键词
审美
'无'
中国美学
本无论
存有论
aesthetic examination
'nothing'
Chinese aesthetic
original nothing theory
existence theory
