当代中国美学原理的书写模式、历史演进和理论反思  

Writing Mode,Historical Evolution and Theoretical Reflection of Contemporary Chinese Aesthetic Principles

作　　者：王芳[1] WANG Fang(College of Science and Technology,China Three Gorges University,Yichang 443002,Hubei,China)

机构地区：[1]三峡大学科技学院,湖北宜昌443002

出　　处：《武汉理工大学学报（社会科学版）》2022年第2期43-51,共9页Journal of Wuhan University of Technology:Social Sciences Edition

摘　　要：三本代表性的美学原理著作见证了中国半个多世纪以来美学学科的建立到逐渐成熟的历史进程,其中,王朝闻主编的《美学概论》代表20世纪50年代美学大讨论中崛起的实践美学;杨春时的《美学》在学术上走向现代,代表的是20世纪80年代向西方开放所取得的后实践美学的成果;张法的《美学导论》代表的是全球化时代的美学。中国的美学原理著作,以美学问题的方式重新表述既往美学思想,仍然是美学史研究。这种学术模式利弊共存,利在融会贯通过去的经典,弊在并非是面对当代艺术审美现象而提出的新命题。Three representative works on aesthetic principles have witnessed the historical evolution from the establishment to the gradual maturity of The discipline of aesthetics in China for more than half a century.Among them,Introduction to Aesthetics edited by Wang Zhaowen,represents the rise of practical aesthetics in the discussion on aesthetics in the 1950s.Yang Chunshi’s Aesthetics is academically modern and represents the achievement of post-practical aesthetics achieved after opening to the West in the 1980s.Zhang Fa’s Introduction to Aesthetics represents the aesthetics in the era of globalization.The Chinese aesthetic principle,which restates the previous aesthetic thoughts in the form of aesthetic problems,is still a study of the aesthetic history.This academic model has both advantages and disadvantages.It has the advantage of integrating past classics,while the disadvantage of not proposing new propositions in the face of contemporary artistic aesthetic phenomena.

关 键 词：美学原理 本体论 后实践美学 王朝闻 杨春时 张法 

分 类 号：B83-0[哲学宗教—美学] B83-09