《淮南子》美学化历程考论——兼论中国古典资源美学转化的两大基本范式

An Examination of the Aestheticization Process of Huainanzi——On the Two Basic Paradigms of the Aesthetic Transformation of Chinese Classical Texts

将《淮南子》视为一部美学文献,从时代背景上看,与晚清以来西学东渐大潮下中国学术范式转型有着密切关系;从美学学科体制建构来看,与当代中国美学话语体系建构息息相关。《淮南子》可以完成从“子部之书”到“美学文献”的转化,得益于杨没累《淮南子的乐律学》开创的艺术化阐释范式和胡适《淮南王书》开创的哲学化阐释范式的对话互补。艺术化阐释范式实践性地将《淮南子》纳入现代美育体系中,哲学化阐释范式则形而上地将《淮南子》“道”论与现代西方审美无功利性进行嫁接,这两大范式也构成了中国古典资源美学转化的基本途径。《淮南子》的美学建构不应该成为现代西方审美无功利性的一个注脚,在“世界中的中国”视野下,《淮南子》需要再美学化,进而挖掘其中独具特色的美学思想与价值,这需要“文本视野”“时代视野”“美学史视野”的相互阐发与对话。

The process that regards Huainanzi as an aesthetic text was occurred in line with the transformation of Chinese academic paradigms under the influence of Western learning since the late Qing Dynasty.It is also closely related to the construction of the contemporary Chinese aesthetic discourse system.Huainanzi has successfully undergone a transformation from a classical text to an aesthetic object since the complementary dialogue between Yang Meilei's artistic interpretive paradigm in The Music and Rhythmic Studies of the Huainanzi and Hu Shi's philosophical interpretive paradigm in The King of Huainan's Books.The artistic interpretive paradigm pragmatically integrated Huainanzi into the modern aesthetic education system,while the philosophical interpretive paradigm metaphysically connected the“Dao”discourse of Huainanzi with the disinterest nature of modern Western aesthetics.These two paradigms constituted the fundamental approaches of the aesthetic transformation of Chinese classical texts.The aesthetic construction of Huainanzi should not be reduced to a mere footnote of modern Western aesthetics.Within the framework of“China in the world”,further aestheticization of Huainanzi is required to explore its unique aesthetic ideas and values.This requires a mutual exposition and dialogue between the“textual perspective”“historical perspective”and“aesthetic history perspective”.