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近代学者在西学东渐的历史境遇下为思想启蒙而提前进入审美现代性的构建。现代美学之审美无功利、审美主体化和美学独立性在王国维和丰子恺那里集中体现在“静观”人生所构建的审美境界中。只是二者在个性、哲学根基和对童心诠释等方面存有差异,以致中国现代美学同时出现了以美灭欲的排斥生活和以美观物的体验生命两种审美倾向。近代审美境界的理性建构不仅为个我的觉醒和人的尊严艰难地争取生存空间,同时也为中国现代美学的构建提供了方法路径参考。而王国维的自杀和丰子恺的倚重宗教则反映了缺乏个体价值支撑的中国现代美学的发展困境。
The Construction of Aesthetic Modernity Advances for Modern Enlightenment by Modern Scholars in the Historical Circumstances of Western Learning. The aesthetics and utilitarianism of modern aesthetics, the subjectivity of aesthetics and the independence of aesthetics are embodied in Wang Guowu and Feng Zikai in the aesthetic realm constructed by “quietness ” life. However, the two are different in personality, philosophical foundation and interpretation of innocence. As a result, there are two kinds of aesthetic tendencies in modern Chinese aesthetics, such as the exclusion of life by beauty of desires and the experiencing of life by aesthetic objects. The rational construction of the modern aesthetic stage not only fought for the living space hard for my awakening and human dignity, but also provided the methodological reference for the construction of Chinese modern aesthetics. Wang Guowei’s suicide and Feng Zikai’s reliance on religion reflect the dilemma of the development of Chinese modern aesthetics that lacks individual value.