中国美学史上的“洛阳”  

"Luoyang"in the History of Chinese Aesthetics

作　　者：刘成纪 Liu Chengji

机构地区：[1]北京师范大学哲学学院

出　　处：《天津社会科学》2024年第5期114-128,175,176,共17页Tianjin Social Sciences

摘　　要：中国美学是传统农耕文明的产物,但城市构成了它主导性的审美视角。这一点在中国王城史上表现得尤为明显,中国传统天下观就是一种从王城出发的天下观。在这一观念形成的过程中,洛阳具有非凡的意义。这座城市是中国传统王城从自在发展向自觉建构的转折点,其标志是周公营洛。这一起点使其成为中国传统礼制城市的典范,对“洛阳旧制”的复制则构成了认识中国王城史的主干性线索。在中国“城市—王城”史中,洛阳不断被赋予意义,也不断废墟化,这使它逐步成为意象,成为中国美学精神的映像形式。据此,理解中国美学,首先必须重新厘清城市与乡村的主从关系,其次需要抓住王城中心这个主导环节,最后再看这一中心如何展开为一种审美化的天下观或天下视野。Chinese aesthetics is the product of the traditional agriculture civilization,whereas city constitutes its dominant aesthetic perspective.This is particularly obvious in the history of the Chinese royal capital,from which the traditional Chinese view of the world radiated.The city Luoyang is of great significance in the formation of this concept.This city is the turning point of traditional Chinese royal capital,from free development to conscious construction,and its symbol is“the Construction of Luoyang by the Duke Zhou”.This starting point makes it a model of Chinese traditional ceremonial city,and the replications of“the Old Regimeof Luoyangc”onstitute the main clue to understand the history of Chinese royal capital.In Chinese lsahistory“from City to Royal Capital”,Luoyang has been endowed with many meanings and also been ruined constantly,which makes it gradually become an image,a reflection of Chinese aesthetic spirit.Therefore,to understand Chinese aesthetics,we should clarify the principal and subordinate relationship between urban and rural areas at first,then grasp the pivot of the center of the royal capital,and finally see how this center develops into an aesthetic view or the vision of the world.

关 键 词：中国美学 洛阳 城市视角 城市美学史 天下观 

分 类 号：B83-092[哲学宗教—美学] I206[文学—中国文学]