蒋孔阳先生与文艺美学

Mr.Jiang Kongyang and Aesthetics of Literature and Art

文艺美学在中国发生是历史必然。告别哲学属性的“美的本质”提问方向,转向艺术本体和审美感受及其关系的问题方向,是40余年文艺学美学领域的潮流。尊重审美感受和艺术本体的学者,都有可能以不同方式为文艺美学建设做出贡献。重读蒋孔阳先生的《美学新论》并选取“多层累的突创”为切入口,细致分析后发现具有文艺美学特质,落脚在文学批评理论,可引发文体、审美主体、文本内容、审美功能等多维批评角度。论文继而从文学批评理论的诸种困惑入手,向“多层累的突创”寻取思考的线索,获得了解决困惑的珍贵美学资源。由此初步假设,蒋孔阳先生《美学新论》具有文艺美学特质。确实,蒋先生的性格、审美鉴赏力以及执着的学术追求,让他不断地提升自己的审美经验和深化理论思考,以他美学融合艺术经验之路与文艺美学暗合和默契。首先,在提问方向上暗合和默契。美学性质的美论、美感论、美的规律等大问题,被他分解为小问题群,小问题群紧密贴着艺术本体和审美体验,由此他以“自下而上”和“自上而下”相互结合地阐述,结论均与文艺美学相通相似。其次,他在致思方式上也出现了暗合和默契:问题的层次性和递进性;中西艺术经验及其利弊有条不紊地编织成论证链等。由此,他收获了诸如“美在创造中”“人是‘世界的美’”等一系列中国学者的学术观点,形成了属于中国文艺美学的学术思想和话语。从文学批评理论→文艺美学→美学的逆向逻辑关系来看,从文艺美学属性的《美学新论》中,汲取文学本体和审美体验及其全部美学思想资源,会更为便利和接地气。这是蒋孔阳先生对当代文艺学美学的独特贡献。

The emergence of aesthetics of literature and art in China is historically predetermined.Departing from the philosophical inquiry into the“essence of beauty,”the trend in the field of literary aesthetics over the past 40 years has shifted towards the questions concerning the artistic entity,aesthetic experience,and their relationship.Scholars who respect aesthetic experiences and artistic entities may contribute to the construction of aesthetics of literature and art in various ways.By revisiting Jiang Kongyang's New Aesthetics and selecting“multi-layered breakthroughs”as the entry point,detailed analysis reveals its distinctive features in aesthetics of literature and art,focusing on his theory of literary criticism.This approach can trigger multidimensional critical perspectives on literary genres,aesthetic subjects,textual content,and aesthetic functions.The article then proceeds to address various confusions in literary criticism theory,seeking clues from“multi-layered breakthroughs”to access valuable aesthetic resources for resolving perplexities.Based on this preliminary hypothesis,Jiang Kongyang's New Aesthetics possesses features of aesthetics of literature and art.Indeed,Mr.Jiang's personality,aesthetic appreciation,and steadfast academic pursuit have led him to continually enhance his aesthetic experience and deepen theoretical thinking,aligning and resonating with the path of aesthetics integrating artistic experience and the aesthetics of literature and art.First and foremost,there is alignment and resonance in the direction of inquiry.Major issues in aesthetics,such as the nature of beauty,theories of aesthetic perception,and laws of beauty,are broken down into smaller clusters of problems closely related to artistic entities and aesthetic experiences.Consequently,he elaborates on these issues by combining“bottomup”and“top-down”approaches,with conclusions akin to aesthetics of literature and art.His mode of thinking also exhibits alignment and resonance:hierarchical and progressive nature of questions;methodical weaving of Eastern and Western artistic experiences into a coherent chain.Consequently,he has harvested a series of academic viewpoints from Chinese scholars,such as“beauty in creation”and“man as the beauty of the world”,forming academic thoughts and discourse specific to Chinese aesthetics of literature and art.From the perspective of theory of literary criticism—aesthetics of literature and art—aesthetics reverse logic,extracting literary entities and aesthetic experiences and all aesthetic ideological resources from New Aesthetics with attributes of aesthetics of literature and art would be more convenient and grounded.This represents Jiang Kongyang's unique contribution to contemporary Chinese aesthetics of literature and art.