中国传统美学的现代转化问题研讨——以邓以蛰为例  

Exploration on the Modern Transformation of Chinese Traditional Aesthetics——A Case Study of Deng Yizhe

作　　者：简圣宇 JIAN Shengyu(School of Art and Design,Yangzhou University,Yangzhou,Jiangsu 225009)

机构地区：[1]扬州大学美术与设计学院,江苏扬州225009

出　　处：《扬州大学学报（人文社会科学版）》2020年第6期114-128,共15页Journal of Yangzhou University(Humanities and Social Sciences Edition)

基　　金：国家社会科学基金一般项目“中国传统意象理论的现代阐释研究”(20BEX131)。

摘　　要：如何在现代语境中传承中国传统美学,是中国现代早期美学研究者们共同思考的问题。邓以蛰的美学研究有着鲜明的民族主义色彩,他试图在不对中国传统美学既有框架做大幅调整的情况下,仅凭借采用和借鉴若干西方现代学术话语就完成中国传统美学的现代阐释工作。他对中国传统美学的内在局限缺乏深刻认识,也对“气韵生动”等古代艺术命题的内在缺陷缺少批判,这导致他的探索最后陷入难以为继的困境。邓以蛰的经验说明对中国传统美学不能只进行“注释性阐释”,弘扬传统文化离不开“创造性转化”和“创新性发展”两个关键点,没有创新的继承不是合格的继承。传统由每个历史时段的代表性成就构成,故而继承传统还必须与时俱进地创造出新的峰值成就,成为本历史时段“新传统”的一部分。How to inherit Chinese traditional aesthetics in the modern context is a question considered by the researchers of early modern Chinese aesthetics.Deng Yizhe s aesthetic research has a distinctive nationalistic color.He tried to complete the modern interpretation of traditional Chinese aesthetics only by using and drawing lessons from a number of western modern academic discourses,without making significant adjustments to the existing framework of traditional Chinese aesthetics.His lack of deep understanding of the internal limitations of traditional Chinese aesthetics and his lack of criticism on the internal defects of ancient art propositions such as “qiyun shengdong”(vivid charm)led to his exploration finally falling into a dilemma of unsustainability.Deng Yizhe s experience shows that traditional Chinese aesthetics can not only be interpreted by annotation,but should be carried out with two key points:creative transformation and innovative development.Inheritance without innovation is unqualified.Tradition is composed of representative achievements in each historical period.Therefore,to inherit tradition must create new peak achievements with the times and make it part of the“ new tradition”in the present historical period.

关 键 词：邓以蛰 中国传统美学 现代转化 内在理路 气韵生动 

分 类 号：J01[艺术—艺术理论]