叶朗“意象美学”学说的系统述评及得失检讨
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摘要
以"审美活动"为基础、"美在意象"为标志的"意象美学"学说是叶朗在20世纪80年代的《中国美学史大纲》初露端倪、20世纪90年代的《现代美学体系》中加以发展、在新世纪出版的《美学原理》一书中正式提出并加以系统建构的。作者吸收存在论、现象学哲学—美学成果,以否定"主客二分"、坚持"天人合一"、消解逻辑思辨的方法从事新的美学原理的建构。作为反映时代学术特色的一种美学创新探索,具有历史意义。本文试图在历史发展中紧扣叶朗的思想演变与传承,全面、准确考察、理解其"美学""美""美感""艺术美"概念的涵义及其与"审美活动"和"意象"的联系,并检讨其得失,以期进一步深化当代中国美学研究。
Based on the aesthetic activities and beauty in imagery,Ye Langs Outline of the History of Chinese Aesthetics in the 1980s was first shown and developed in the modern aesthetic system of the 1990s.In the book of Aesthetics Principles published in the new century,the theory of imagery aesthetics was formally proposed and systematically constructed.The author absorbs existentialism,phenomenological philosophys aesthetic results,denies the subject and object distinction,insists on the harmony of man and nature and dispels logical thinking.This book has historical significance as exploring an aesthetic innovation that reflects the academic characteristics of the current era.This article attempts to closely follow Ye Langs ideological evolution and inheritance in the historical development,and fully understand the meanings of the concepts of aesthetics,beauty,sense of beauty and artistic beauty and its relationship with aesthetic activities and imaging images.It also offers a critical review of their gains and losses in order to further deepen the study of contemporary Chinese aesthetics.
Based on the aesthetic activities and beauty in imagery,Ye Langs Outline of the History of Chinese Aesthetics in the 1980s was first shown and developed in the modern aesthetic system of the 1990s.In the book of Aesthetics Principles published in the new century,the theory of imagery aesthetics was formally proposed and systematically constructed.The author absorbs existentialism,phenomenological philosophys aesthetic results,denies the subject and object distinction,insists on the harmony of man and nature and dispels logical thinking.This book has historical significance as exploring an aesthetic innovation that reflects the academic characteristics of the current era.This article attempts to closely follow Ye Langs ideological evolution and inheritance in the historical development,and fully understand the meanings of the concepts of aesthetics,beauty,sense of beauty and artistic beauty and its relationship with aesthetic activities and imaging images.It also offers a critical review of their gains and losses in order to further deepen the study of contemporary Chinese aesthetics.
引文
(1)叶朗:《中国美学史大纲》,上海:上海人民出版社,1985年,第3-4页。
(2)(3)(4)(5)叶朗主编:《现代美学体系》初版前言,北京:北京大学出版社,1999年,第4-5页。
(6)叶朗主编:《现代美学体系》,第6页。
(1)叶朗主编:《现代美学体系》,第6页。
(2)叶朗:《美学原理》,北京:北京大学出版社,2009年,第3页。下引此书,文中夹注页码。
(3)参见叶朗主编:《现代美学体系》,第28-30页。
(1)叶朗主编:《现代美学体系》,第32页。
(1)叶朗主编:《现代美学体系》,第32页。
(1)按:《美学原理》中类似的例子很多。作为一部哲学理论著作,笔者以为这种现象是不可理解的。
(2)此外,叶朗在论证过程中对青原惟信禅师关于参禅三阶段“见山是山,见水是水”“见山不是山,见水不是水”“依然见山是山,见水是水”的解释也违背佛教常识。参见叶朗:《美学原理》,第53页。关于这段语录的真实涵义,参见祁志祥:《中国佛教美学史》,北京:北京大学出版社,2010年,第39页。
(3)叶朗主编:《现代美学体系》初版前言,第6页。
(1)叶朗《美学原理》中的表述不仅屡屡存在着自相矛盾的不足,而且存在着概念相互交叉、纠缠不清、令人无法确知的遗憾。如说:“技术美(功能美)给人的愉悦是一种复合体,包括生理快感、美感和某种精神快感。”(第318页)在这里,“美感”是与“生理快感”“精神快感”并列的概念,它既不是“生理快感”,又不是“精神快感”,那是什么?如此等等,不一而足。
(2)(3)(4)(5)叶朗主编:《现代美学体系》初版前言,北京:北京大学出版社,1999年,第4-5页。
(6)叶朗主编:《现代美学体系》,第6页。
(1)叶朗主编:《现代美学体系》,第6页。
(2)叶朗:《美学原理》,北京:北京大学出版社,2009年,第3页。下引此书,文中夹注页码。
(3)参见叶朗主编:《现代美学体系》,第28-30页。
(1)叶朗主编:《现代美学体系》,第32页。
(1)叶朗主编:《现代美学体系》,第32页。
(1)按:《美学原理》中类似的例子很多。作为一部哲学理论著作,笔者以为这种现象是不可理解的。
(2)此外,叶朗在论证过程中对青原惟信禅师关于参禅三阶段“见山是山,见水是水”“见山不是山,见水不是水”“依然见山是山,见水是水”的解释也违背佛教常识。参见叶朗:《美学原理》,第53页。关于这段语录的真实涵义,参见祁志祥:《中国佛教美学史》,北京:北京大学出版社,2010年,第39页。
(3)叶朗主编:《现代美学体系》初版前言,第6页。
(1)叶朗《美学原理》中的表述不仅屡屡存在着自相矛盾的不足,而且存在着概念相互交叉、纠缠不清、令人无法确知的遗憾。如说:“技术美(功能美)给人的愉悦是一种复合体,包括生理快感、美感和某种精神快感。”(第318页)在这里,“美感”是与“生理快感”“精神快感”并列的概念,它既不是“生理快感”,又不是“精神快感”,那是什么?如此等等,不一而足。