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作 者:韩清玉[1] 李不言 Han Qingyu;Li Buyan(The Center for Literary Theory and Aesthetics,Shandong University,Jinan 250100)
出 处:《浙江社会科学》2025年第3期143-154,160,共13页Zhejiang Social Sciences
基 金:国家社科基金重大项目“生生美学与中华美学精神的传承创新研究”(23&ZD280);教育部人文社科重点研究基地重大项目“中西互鉴视阈中的中国现代美学建构路径与理论形态研究”(22JJD750028)的阶段性成果。
摘 要:多元的艺术实践类型及其审美经验从感性与诗性维度为美学话语的生成提供了丰富的资源。在艺术与美学对话交流所呈现的张力中,美学理论体系也得到了进一步的更新与完善。同时,具体艺术范例为理论建构提供了丰富的经验阐释,中国传统艺术资源则为中国现代美学的原创性品格与独特风貌贡献了丰富的话语资源。然而,随着当代美学理论在抽象宏阔的概念阐释与理论研究中越走越远,它逐渐与社会生活中具体的文艺实践及其审美经验拉开了距离,理论研究者的自我封闭与研究范式的“去艺术化”已成为一个重要问题。针对诸种现实问题,现代美学语境中美学学科的研究理路与建构模式,则在跨学科视域下对话交流的基础上,为中国式现代美学建设提供了可资借鉴的经验启示。The diverse types of artistic practice and their aesthetic experience provide sufficient resources for the generation of aesthetic discourse from the perceptual and poetic dimensions.In the tension presented by the dialogue between art and aesthetics,the aesthetic theoretical system has been further updated and improved.At the same time,the concrete art examples also provide a rich experiential explanation for the theoretical construction,and the traditional Chinese art resources contribute a wealth of discourse resources for the original character and unique style of modern Chinese aesthetics.As contemporary aesthetic theories gradually go further and further in the abstract and broad concept interpretation and theoretical research,and then separate from the concrete literary and artistic practice and aesthetic experience in social life,the self-isolation of theoretical researchers and the“de-artistry”research paradigm has become an important issue.In view of all kinds of practical problems,the research theory and construction mode of aesthetics in the modern aesthetic context,on the basis of dialogue and exchange under the interdisciplinary perspective,provide a reference for the construction of modern Chinese aesthetics.
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