动静之辩:宗白华“中国美学”构建的理论基础  

Dialectics of Motion and Stillness:The Theoretical Foundation of Zong Baihua's Construction of“Chinese Aesthetics”

作　　者：郑浩月 Zheng Haoyue(the Department of Chinese Language and Literature,Peking University,Haidian district,Beijing 100871,China)

机构地区：[1]北京大学中国语言文学系,北京市海淀区100871

出　　处：《文艺理论研究》2025年第1期14-23,共10页Theoretical Studies in Literature and Art

摘　　要：宗白华的“中国美学”论证了中国传统画法在现代世界继续存在的合法性,但它不是对中国古典美学观点的简单“收纳”,而是以“动”的现代精神为中心对中国古典艺术的现代阐释。一战爆发后欧洲对中国文化的渴慕、国内“全盘西化”论的反流为宗白华提供了契机,而郭沫若就动静之辩对孔、老哲学极具启发性的新解释,则为宗白华“中国美学”的构建提供了重要的理论前提。宗白华对动静关系问题的思考,也逐渐达成了“静观”的东方意识与“进取”的西方精神之间的融合,显示出其构建的“中国美学”背后资源融合与文化重建的理想旨归。Zong Baihua's“Chinese aesthetics”argued for the legitimacy of traditional Chinese painting in the modern world.However,it was not a simple“incorporation”of traditional Chinese aesthetic viewpoints,but a modern interpretation of classical Chinese arts centered on the“dynamic”spirit.His work benefited from Europe's longing for Chinese culture after the outbreak of World War I,as well as domestic opposition to the idea of“wholesale Westernization”.Moreover,Guo Moruo's interpretation of the debate between motion and stillness in Confucian and Daoist philosophy was highly inspiring and laid important theoretical groundwork for the construction of Zong Baihua's“Chinese aesthetics”.Meanwhile,Zong Baihua's reflections on the relationship between motion and stillness gradually led to the fusion of the Eastern consciousness of“serene contemplation”and the Western spirit of“striving forward”,reflecting his ideal vision of integrating resources and reconstructing culture behind the construction of“Chinese aesthetics”.

关 键 词：宗白华 中国美学 动静之辩 

分 类 号：B83-0[哲学宗教—美学]