现实与艺术的对立融合:朱光潜美学中的自然美观及其现代性  

The Opposition and Fusion Between Reality and Art--The View of Natural Beauty and Its Modernity in Zhu Guangqian’s Aesthetics

作　　者：杜学敏[1] DU Xue-min(School of Chinese Language and Literature,Shaanxi Normal University,Xi’an 710119,Shaanxi)

机构地区：[1]陕西师范大学文学院,陕西西安710119

出　　处：《陕西师范大学学报（哲学社会科学版）》2020年第3期97-107,共11页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

摘　　要：朱光潜一方面坚持自然美是一个自相矛盾的概念,故一直存有质疑、拒斥的态度;另一方面却在论及艺术美的同时往往涉及自然美问题,并对自然美概念的内涵、本质等诸多问题给予持续不断的特别关注与辩证。朱光潜认为自然美是艺术美的一种,即处于雏形阶段的艺术美。此"自然美"概念实乃等同于国内美学界一般视为自然美与社会美合称的"现实美"概念,因而朱光潜的自然美研究实可称之为文艺美学视域下的现实美学或生活美学。朱光潜经由"自然美"概念折射出来的现实生活美学,反映的是他对现实生活与艺术活动在审美中的对立融合复杂关系的独特思考,这既是西方近现代美学启蒙现代性的中国式表达,也表现出非主客二分模式的美的本质论倾向,以及将人生与艺术同一化的美学现代性特征。On the one hand, Zhu Guangqian insisted that natural beauty is a self-contradictory concept, so he always had an attitude of questioning and rejecting;on the other hand, when he talked about artistic beauty, he often included in natural beauty, and constantly paid special attention, differentiation and analysis to the connotation, essence and other issues of the concept of natural beauty. Zhu Guangqian’s research on natural beauty can be called realistic aesthetics or life aesthetics from the perspective of literary and artistic aesthetics. Real life aesthetics reflects his unique thinking on the complex relationship of the opposition and fusion between real life and artistic activities in aesthetic. This is not only the Chinese expression of the enlightenment modernity of western modern aesthetics, but also shows the essentialism of beauty in the non-subject-object dichotomy mode, as well as the aesthetic modernity characteristics that unite life and art.

关 键 词：朱光潜美学 自然美 艺术美 现实美 现代性 

分 类 号：B83-066[哲学宗教—美学] J01[艺术—艺术理论]