试论谢林的存在论美学思想  

On Schelling’s Ontological Aesthetics

作　　者：曾繁仁[1] 任群[1] Zeng Fanren;Ren Qun(the Center for Literary Theory and Aesthetics at Shandong University,Jinan 250100,Shandong Province,China)

机构地区：[1]山东大学文艺美学研究中心,山东省济南市250100

出　　处：《文艺理论研究》2022年第3期21-30,共10页Theoretical Studies in Literature and Art

基　　金：国家社会科学基金重大项目“生态美学文献整理与研究”[项目编号:16ZDA111]的阶段性成果。

摘　　要：谢林是德国古典美学四大家之一,他不仅是由康德到黑格尔的过渡性人物,而且离开传统欧陆理性决定论体系走上了存在论之路;他首次提出本体论的“艺术哲学”概念,并以“同一哲学”为指导进行艺术的建构;他长期进行存在论神话哲学研究,将神话看作绝对的诗;他的《艺术哲学》开创了崇高论悲剧观,以悲剧主人公的自愿选择受罚之精神升华为其旨趣;他力主“主体的自然”及“整体论”自然审美观。他的美学与艺术思想跨越时代,对于后世具有深远影响。Schelling is one of the four masters of German classical aesthetics.He was not only a transitional figure from Kant to Hegel,but also departed from the continental tradition of rational determinism to embark on ontology.For the first time,he proposed the concept of ontological“philosophy of art,”and constructed art under the principle of the“philosophy of identity.”His research focused on the ontological philosophy of mythology,which regarded myth as the absolute poetry.His Philosophy of Art creates a sublime view of tragedy,which regards the spiritual sublimation resulting from the tragic protagonist’s voluntary punishment as the ultimate goal.Schelling advocated the ideas of“nature as subject”and“holistic”natural aesthetics.His aesthetics and artistic thoughts transcend times and have far-reaching influence on future generations.

关 键 词：谢林 存在论美学 艺术哲学 崇高论悲剧观 神话哲学 

分 类 号：B83-0[哲学宗教—美学]