传统中国美学:“天人合一”的大美学  

Traditional Chinese Aesthetics:Grand Aesthetics about Man and Nature as a Harmonious Whole

作　　者：杨矗[1] 

机构地区：[1]太原师范学院文学院,山西太原030012

出　　处：《太原师范学院学报（社会科学版）》2011年第6期10-12,共3页Journal of Taiyuan Normal University:Social Science Edition

摘　　要：西方美学是一种更重视概念和逻辑体系的比较狭窄的"小美学",其作为知识论的极端形态则是"见科学不见人"的一套概念的或知识的"体系"。而传统中国美学则是生存论意义的美学,是相对诗化的、象征的和具有"人与天齐"的大口径、大边界、大尺度的"大美学",是真正的"以人为本"的美学本身,是更地道更正宗的美学。从"人天齐一"的人类追求自由、超越的本性来看,传统中国美学更接近"美学"的本质。因此,世界美学家族中的正庶秩序需要重新调整,或者至少应该做到中西方美学"二美并尊"和"平等交辉",美学无疑应该走出"欧洲中心论"的狭隘观念。Western aesthetics,paying more attention to concepts and logic system,is a comparatively narrow ＂minor aesthetics＂,whose extreme form is a set of concepts and a knowledge ＂system＂ failing to see human for science.Traditional Chinese aesthetics is that of existential significance,which is a ＂Grand Aesthetics＂ with broader scopes and sizes,with poetic symbolic ideal of ＂man equals to the height of heaven＂,therefore touches the essence of aesthetics in ＂people orientation＂,and is the authentic and real aesthetics.Viewing from the nature of man＇s endeavor to seek freedom and transcendence,the ＂man equals to the height of heaven＂ in Chinese traditional aesthetics is closer to the essence of aesthetics.Thus it is necessary to readjust the order of position in the world family of aesthetics,or the position of Chinese aesthetics should at least be of equal status with that of western one.The narrow-minded ＂European centered＂ concept surely should be abandoned.

关 键 词：美学 传统中国美学 西方美学 

分 类 号：B83[哲学宗教—美学]