摘要
“美在意象”说是叶朗构建的审美体系,其基本精神植根于中国古典美学,同时又融会了西方现代美学思想。在古今与中西美学思想的穿行中,叶朗借鉴并重新阐释了胡塞尔现象学美学中的意向性结构与“生活世界”的观念,以此阐发意象的特征与意义;叶朗将日常生活纳入审美空间,日常生活审美的复杂性需要创造新的意义上的意象去点亮;叶朗因现代艺术缺乏精神性对其持否定态度,用现代艺术倒逼意象拓展自身的理论内涵和外延有助于增强艺术的创造力以及对现实的批判性力量。
The“beauty in image”theory is the aesthetic system constructed by Ye Lang.Its basic spirit is rooted in Chinese classical aesthetics,and at the same time it blends modern Western aesthetic ideas.In the passage of ancient and modern and Chinese and Western aesthetic thoughts,Ye Lang borrowed and reinterpreted the intentional structure and the concept of“life world”in Husserl’s phenomenological aesthetics to illustrate the characteristics and meaning of the image;Ye Lang incorporates daily life into the aesthetic space,and the aesthetic complexity of daily life needs to create a new sense of image to light up;Ye Lang holds a negative attitude towards modern art because of its lack of spirituality,using modern art to force images to expand its theoretical connotation and extension will help enhance the creativity of art and the critical power of reality.
基金
2021年江苏省社会科学基金项目“瞿秋白与马克思主义文艺理论的中国化研究”(21ZWB001)研究成果。
