| 作 者： |
邓晓芒 |
| 单 位： |
华中科技大学 |
| 文章类别： |
哲学 |
| 关 键 词： |
中西美学；美；艺术；美感 |
| 中文摘要： |
中西美学的三个主题是美、艺术和美感。在美的方面，中国古代的美是实用的美善和伦理道德的美善两个层次的，他们最终被定型为儒家的政治伦理模式和道家的自然宇宙论模式；古希腊的美是人体之美的观看对象，并将其提升到对上帝或彼岸的爱的追求。在艺术方面，中国古代的“艺”的地位一直不高，“乐通伦理”和“文以载道”成为中国艺术精神的主流；西方艺术精神的主流则是认识论意义上的模仿论。在美感方面，中国儒家归之于合乎礼教的“众乐”，道家则归于与大自然相通的“至乐”和后来的妙悟、兴趣；西方则一方面有非理性的“诗的迷狂”，另一方面有理性的“认识的快感”。在所有这些方面，中西美学都呈现出不同的面貌。 |
| 英文摘要： |
Beauty, art and aesthetic feeling are the three themes of the Chinese and Western aesthetics. In the aspect of beauty, Chinese in ancient times thought that beauty and goodness were the same. Two levels—practical beauty-goodness and ethic beauty-goodness—are derived from it, which truned into the mode of political ethics of Confucianists and the mode of natural universe of Taoists. Beauty of ancient Greece meant good-looking, the object of watching. It was elevated to the pursuit to love of God or the other shore. In the aspect of art, Chinese “art” had lower statue. “Music is connected to ethics” and “literature is the carrier of the Dao” had become the mainstream of the Chinese art. Western art came from the handicraft technique. It is a way of the epistemology. In the aspect of the aesthetic feeling, Chinese Confucianists regarded it as “happiness of the all” which conformed to the Confucian propriety. Taoists regarded it but as “the ultimate happiness” which connected with the nature, and later it was developed into Miaowu. In the west, on one hand there was irrational “craziness of the poem”, on the other hand there was rational “pleasure of cognition”. In all these aspects, the Chinese and Western aesthetics demonstrate different appearances.
〖WTHZ〗Key words:〖WTBZ〗 Chinese and Western Aesthetics; beauty; art; aesthetic feeling
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| 作者简介： |
（1948-），男，湖南长沙人，华中科技大学哲学系教授、博士生导师，研究方向为西方哲学。 |
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