现代语境下艺术学与美学“分合之争”的反思——以宗白华为例  

Reflections on “Division and Integration” of Arts and Aesthetics in the Modern Context——A Case Study of Zong Baihua

作　　者：张泽鸿[1] 

机构地区：[1]湖北文理学院美术学院,湖北襄阳441053

出　　处：《山西师大学报（社会科学版）》2014年第2期87-93,共7页Journal of Shanxi Normal University(Social Science Edition)

基　　金：国家社科基金后期资助项目(12FYS012)

摘　　要：在20世纪现代中国文化—政治语境下,艺术学与美学这两个学科先后经历了绞缠、独立、再融合到再分离的复杂嬗变历程。从现代中国人文学术史看,宗白华先生无疑是百年艺术学与美学"分合之争"的见证人、参与者和实践者,他所建构的"宗白华范式"不仅意味着20世纪中国艺术学与美学两个学科在理论与方法上所达到的高度,同时也体现了中国现代艺术学学科发展进程中的不成熟和停滞状态。宗氏在早期坚持艺术学相对于美学的基本独立地位,到后期又用美学完全取代艺术学,这既有具体的历史—政治原因,也与20世纪中期以来西方艺术学和美学逐渐融合的趋势相同步。考察这两个学科百年分合演化的历史,可以鉴往知来并自觉建构新的中国艺术学理论体系。In the 20th century modem Chinese cultural-political context, arts and aesthetics have gone through the complex evolution of link, division, reintegration and redivision. Seen from the contemporary Chinese literary academic history, Zong Baihua is no doubt the witness, participant and practitioner of the division and integration of China＇s arts and aesthetics. ＂Zong Baihua paradigm＂ not only means the height of arts and aesthetics in terms of theory and method, but it also embodies the immaturity and stagnation of the development of contempory Chinese arts subject. Zong＇s early insistance on arts＇ relatively independent status has changed into the complete replacement of art by aesthetics, which has both speicfic historical and political reasons and is in line with the integration of western arts and aesthetics. Examining the evolutionary history of the two subjects is of great importance to construct the new theorctical system of Chinese arts.

关 键 词：艺术学 美学 学科演化 “先分后合” 宗白华范式 

分 类 号：J01-02[艺术—艺术理论]