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审美形而上学是将美与形而上学相关联的美学理论。鉴于美在艺术中得以集中体现,审美形而上学往往表现为艺术形而上学。鉴于本体论是形而上学最核心的内涵,审美形而上学往往将美和艺术的终极依据归于本体,即认为美和艺术的原因在于理念、真理、上帝、意志或存在。柏拉图的理念论美学不仅在新柏拉图主义者普罗丁那里得到回应发展,更在两千多年来的西方美学史上激起持续的回响。20世纪美学被普遍认为是反对、清除、拒绝形而上学的美学,其重建工作却往往被忽略。现象学美学、存在论美学和解释学美学以对审美对象的直观超越了“自上而下”和“自下而上”方法的局限,在审美主体一端肯定了人的形而上天性,在审美对象一端剖析了艺术的形而上性质,延续而非解构了审美形而上学传统。
Aesthetic metaphysics is the aesthetic theory that links beauty with metaphysics. Since beauty can be embodied in art, aesthetic metaphysics often manifests itself as artistic metaphysics. Since ontology is the core connotation of metaphysics, aesthetic metaphysics tends to attribute the ultimate basis of beauty and art to the noumenon, that is, the reason that beauty and art are regarded as philosophy, truth, God, will or existence. Plato’s theory of aesthetics not only responded to the new Platonism’s Prudin but also aroused a lasting echo in the history of western aesthetics for over two thousand years. Aesthetics in the 20th century is generally regarded as the aesthetics of opposition, removal and rejection of metaphysics, and its reconstruction is often neglected. Phenomenological aesthetics, existential aesthetics and hermeneutic aesthetics transcend the limitations of the “top-down” and “bottom-up” approaches to the aesthetic objects, and affirm human’s metaphysics on the aesthetic subject , Analyzes the metaphysical nature of art at the end of aesthetic objects, and continues rather than deconstructs the tradition of metaphysics of aesthetics.