对德国古典美学与中国当代美学建设的反思——由“人化自然”的实践美学到“天地境界”的生态美学  

A Reflection on German Classic Aesthetics and the Construction of Contemporary Chinese Aesthetics

作　　者：曾繁仁[1] 

机构地区：[1]山东大学文艺美学研究中心

出　　处：《文艺理论研究》2012年第1期4-9,共6页Theoretical Studies in Literature and Art

基　　金：山东大学文艺美学研究中心"985"项目中期成果之一

摘　　要：反思我国50多年来的当代美学发展,德国古典美学的影响是重要因素之一,其表现为我国当代最重要的美学形态实践论美学就是直接师承德国古典美学特别是康德美学而来。这是由于德国古典美学自身的水平与中国的现实需要所决定的。但一切理论都是历史的,在历史中产生并在历史中退场。我国新世纪以来经济社会的急剧转型,决定了德国古典美学已经不能适应中国现实需要,而在其影响下产生的实践论美学也暴露出诸多弊端,它们都必将退出历史舞台。中国当代美学发展将由"人化自然"的实践论美学过渡到"天地境界"的生态美学。Contemporary aesthetics in China over the past 50-odd years developed partly because of the influence of classic German aesthetics, as can be seen from the fact that the most important form of aesthetics in contemporary China--practice aesthetics--is derived from classic German aesthetics, especially Kantian aesthetics. This is determined by the level of classic German aesthetics and China’s particular needs. However, all theories are historical, and have to appear and disappear in history. The dramatic socio-economic transformation since 1949 determines that classic German aesthetics is no longer suitable to China, and practice aesthetics derived from it has shown its shortcomings, so they both will phase out. Contemporary Chinese aesthetics will shift from practice aesthetics based on humanized nature to eco-aesthetics based on the heaven-and-earth vision.

关 键 词：德国古典美学 实践美学 人化自然 天地境界 生态美学 

分 类 号：B83[哲学宗教—美学]