“艺术生活”与“同情”:宗白华艺术人生观的建构中心及路径  

“Artistic Life”and“Sympathy”:The Central Theme and the Pathway of Zong Baihua's Views on Artistic Life

作　　者：李祎罡 LI Yigang(Institute of Art,Communication University of China,Beijing 100024,China)

机构地区：[1]中国传媒大学艺术研究院,北京100024

出　　处：《美育学刊》2024年第6期72-81,共10页Journal of Aesthetic Education

摘　　要：“艺术人生观”与“同情”是宗白华在20世纪20年代提出的命题与概念,随着其思想理论的推进,“同情”逐渐成为宗白华美学思想的核心范畴之一,并在建构艺术人生观中具有了非常重要的作用。宗白华以“同情”为中心,分别从艺术人格、人生态度、审美境界三个层面,以艺术人生观为主旨进行建构。“同情”推动了艺术人格从“小己”到“大我”的塑造;形成了“悲剧”“幽默”两种人生态度;创构出“身入化境”的审美境界。宗白华的同情观与艺术人生观之间的张力互构关系,不仅在其美学思想理论中具有突出地位,同时作为宗白华生命践履的信念,也为中华美学精神从学理向实践的推进提供了一条切实可行的路径。The concepts of“view on artistic life”and“sympathy”were proposed by Zong Baihua in the 1920s.As his theoretical thought progressed,“sympathy”gradually became one of the core categories of Zong Baihua's aesthetic thought,playing a highly positive role in shaping his view on artistic life.Centered around“sympathy”,Zong Baihua constructed his view on artistic life from three aspects:artistic personality,life attitude,and aesthetic realm.Indeed,“sympathy”promotes the transformation of the artistic personality from the“small self”to the“greater self”,forming two life attitudes--“tragedy”and“humor”,and creating the aesthetic realm of“entering a transcendent state”.The tension and mutual construction between Zong Baihua's views on“sympathy”and his views on artistic life not only hold a prominent place in his aesthetic theory but also serve as a belief guiding his life practices,providing the general public with a practical pathway to advance the art of life from theoretical understanding to practical application.

关 键 词：宗白华 同情 艺术人生观 艺术人格 人生态度 审美境界 

分 类 号：B83-0[哲学宗教—美学]