从“超越之维”到“澄明之境”——潘知常中西美学比较视域下的艺术论  

From“Dimension of Transcendence”to“Realm of Clarity”——Pan Zhichang’s Theory of Art from the Comparative Perspective of Chinese and Western Aesthetics

作　　者：范藻 FAN Zao(Journal Editorial Department,Sichuan University of Arts and Science,Dazhou 635000,Sichuan,China)

机构地区：[1]四川文理学院学报编辑部,四川达州635000

出　　处：《兰州文理学院学报（社会科学版）》2023年第3期1-5,共5页Journal of Lanzhou University of Arts and Science(Social Science Edition)

摘　　要：潘知常的中西美学比较视域下的艺术论,源于他的美学生命论,而他的美学生命论或生命论的美学中,艺术的美学思考占有大半壁江山。他是要借助中西艺术的比较,发现中国艺术所特有的结构的“言象意道”、情感的“温柔敦厚”和想象的“神与物游”,为比较美学,进而为生命美学,乃至中国美学寻找一条从“超越之维”通向“澄明之境”的道路。Pan Zhichang’s theory of art in the comparative perspective of Chinese and Western aesthetics originates from his aesthetic life theory,and the aesthetic thinking of art occupies most of his aesthetic life theory or life theory aesthetics.With the help of the comparison between Chinese and Western art,he has found the unique structure of“words,images and meanings”,the“gentleness”of emotion and the“spirit and things”of imagination in Chinese art,and found a way from“dimension of transcendence”to“realm of clarity”for comparative aesthetics,and then for life aesthetics,and even Chinese aesthetics.

关 键 词：潘知常 美学比较 艺术论 

分 类 号：B83-0[哲学宗教—美学]