论庄子与康德审美心胸观的会通性  

On the Close Connection of Ideas between Chuang-tzu's and Kant's Aesthetic Minds

作　　者：宋雄华[1] 

机构地区：[1]中南民族大学文学院,湖北武汉430073

出　　处：《东方论坛（青岛大学学报）》2012年第3期56-61,共6页Eastern Forum（JOURNAL OF QINGDAO UNIVERSITY）

基　　金：国家社会科学基金项目"先秦两汉怪诞文学艺术研究"(11CZW013);湖北省教育厅社会科学基金项目"庄子与康德美学思想比较研究"(2003d140)阶段性成果

摘　　要：庄子和康德的审美心胸观都认为,审美主体在面对审美对象时,内心应该达到一种超越一切利害关系的虚静自由的状态。康德的审美静观说在其理论中并未充分展开,主要表现为直接用"静观"这一词语,强调一个"静"字。庄子的审美虚静说不但强调"静",而且强调"虚",是一个以虚静为核心,以心斋为起点,以坐忘为中介,以物化为最后旨归的有机整体。庄子审美虚静说的最终目的是达到物我合一的互动互化,比康德单纯静观的审美观照理论更接近审美心理的实际状态。庄子的虚静说没有像康德的静观说那样纯粹地指向形式美。In terms of ideas of aesthetic mind, Chuang-tzu and Kant＇ s held that the hearts of the aesthetic subject should reach the quiet and free state beyond all interests when facing the aesthetic object. Kant＇ s theory of aesthetic contemplation was not fully developed in its theory; it was mainly displayed by directly using this term ＂contemplation＂, and it emphasized the term ＂quiet＂ . Chuang-tzu＇ s theory of aesthetic emptiness emphasized not only the ＂quiet＂, but also the ＂emptiness＂. It was an organic whole that regarded emptiness and quiet as the core, regarding heart as the starting point, regarding forgetting wholly as the intermediary, regarding change into universe as the final aim. The ultimate goal of Chuang-tzu aesthetics emptiness achieved oneness of the interaction and interchange between universe and me. It was closer to the actual state of aesthetic psychology than Kant＇ s aesthetic theory of pure contemplation. The emptiness and quiet of Chuang-tzu did not simply point to the beauty of form as the quiet contemplation of Kant.

关 键 词：审美心胸 会通性 虚静 静观 自由 形式 

分 类 号：B83[哲学宗教—美学]