真善美之“分别说”与“合一说”——牟宗三对美学学科形态的新思考  

Division Or Combination of the True,the Good and the Beautiful——A New Criticism of Aesthetic Morphology by Mou Zongsan

作　　者：劳承万[1] 

机构地区：[1]湛江师范学院中文系,广东湛江524048

出　　处：《学术月刊》2009年第12期85-89,共5页Academic Monthly

摘　　要：牟宗三在20世纪后期以一人之力翻译完康德"三大批判"之后,又以耄耋之年深入地研究康德"第三批判",并撰写长篇商榷文章,成为当代独一无二的"第三批判"研究专家。牟氏认为康德用"反省判断力"(审美判断力)去沟通"自然——自由"(真—善)两界,难以成功。牟氏以"真善美之合一说"取代"真善美之分别说",即以"无相原则"取代"合目的性"(目的论)原则。牟氏认为这是一种"智慧方向"的大转换(即是以中国人的智慧去消化康德与超越康德的最佳视界),亦是建构美学学科形态的重要方法论。但牟氏在"智慧方向"的形态转换中,虽领航卓越,却贯通不足。从根本上说,仍然有脱离中国文化的智慧方向。从中国智慧方向上说,中国只有乐学而没有美学,这是超越"分别说"与"合一说"之后必然看到的结论。Mou Zongsan, after his translation of Kant＇s three Critiques, has studied the third Critique. He believes that it is impossible to succeed by Kant in communicating ＂nature / freedom＂ （the true / the good） through aesthetic judgment. Mou substitutes ＂division of the true, the good, and the beautiful＂ with a combination of the three, and takes it as a transferring to ＂wisdom orientation＂, which means to understand and transcend Kant＇s best view by Chinese people＇s wisdom, and it is also a methodology in constructing an aesthetic morphology. But Mou＇s transferring of morphology still separates from the wisdom orientation in Chinese culture, and it is also required to be transcended.

关 键 词：反省判断力 自然 自由 分别说 合一说 

分 类 号：B83-06[哲学宗教—美学]