论李泽厚“情本体”对中国儒家美学的承袭与发展  

On the Inheritance and Development Li Zehou's"Emotional Ontology"on Chinese Confucian Aesthetics

作　　者：宫华绅 张伟 GONG Huashen;ZHANG Wei(College of Arts,Northeastern University,Shenyang 110004,China)

机构地区：[1]东北大学艺术学院,辽宁沈阳110004

出　　处：《辽宁大学学报（哲学社会科学版）》2024年第5期140-147,共8页Journal of Liaoning University(Philosophy and Social Sciences)

摘　　要：“情本体”是李泽厚在其学术生涯后期提出的美学思想。为了适应中国美学的现代化进程,李泽厚将中国儒家传统美学理论融入其“情本体”美学思想中,突破了认识论美学的思维定式,完成了从实践论美学到本体论美学的转变,实现了对儒家美学理论的超越和发展。李泽厚承袭了儒家美学思想,将情感置于本体之维度,把“情”回归于感性本身,回归于美学本身,这对于中国美学的研究具有重要的理论意义和现实价值。"The Ontology of Emotion"is an aesthetic concept proposed by Li Zehou in the later stages of his academic career.To accommodate the modernization of Chinese aesthetics,Li Zehou integrates traditional Confucian aesthetic theories with his own aesthetic thought.This approach breaks through the constraints of epistemological aesthetics,marking a shift from practical aesthetics to ontological aesthetics and achieving a transcendence and development of Confucian aesthetic theory.Li Zehou inherits Confucian aesthetic thought by placing emotion within the dimension of ontology,returning"emotion"to its sensory and aesthetic essence.This approach holds significant theoretical and practical value for the study of Chinese aesthetics.

关 键 词：情本体 儒家美学 乐感文化 本体论美学 

分 类 号：I01[文学—文学理论]