“恐怖·狂欢·虔恪”与本真救赎——战国策派美学旨趣新探

"Horror,Exultation,Piety" and "Authenticity" Salvation: New Exploration on Esthetic Principles of the School of Zhanguoce

《寄语中国艺术人》是战国策派的美学纲领,须结合《中国心灵》才能读懂战国策派的美学旨趣。战国策派美学始于反对儒道,却终于复归道家,因为中国人就社会属性是儒家信徒,作为个体却是道教徒。陈铨等人所意识到的时代病是战国策派无力解决的,因而以海德格尔的学说格义道家作为药方,从美学概念引向哲学概念。虔恪的"绝对之体",对于"超人"而言是以老子的"无"为终;对于"超人"与"末人"以外的第三种人而言,是以海德格尔的本真为终。因此,在陈铨的文学作品中,我们阅读到本真的救赎。

To the Artists in China is an esthetic purport of the School of Zhanguoce,which esthetic taste would be clearly understood only with reference to China Hearts.The 'ultimate substance' of piety is Taoism.To the Artists in China initiated with anti-Confucianism and anti-Taoism but finally returned to Taoism.This is because there are dual characteristics for Chinese who are Confucians in social practices but Taoists in private practices.Chen Quan,Lin Tongji and Lei Haizong realized that the disease of the age could not be solved by their school.So,they oriented the esthetical concept to philosophical concept by interpreting Taoism with the theory of M.Heidegger as a prescription for the age disease.The 'ultimate substance' for piety for 'superman' is Taoism's 'emptiness',while for the third party other than 'superman' and 'petty man' is M.Heidegger's 'authenticity'.Therefore,salvation for 'authenticity' could be read in Chen Quan's literary works.