由“美”及“丑”：贾平凹审美观照的转换——以《高老庄》为例

From ＂beauty＂ to ＂ugliness＂： Change of Jia Pingwa＇s Aesthetic Perspective——Taking ＂Gao Laozhuang＂ as an example

当丑被引入美学领域时就成为美学上的丑，即审丑。审丑的美学理论在理论界虽没有定论，但一直以来始终作为现代派创作的理论依据和象征。1990年代以来，贾平凹创作的美学视角开始转轨，文本中大量运用西方现代派的审丑理论是其长篇小说的显著特点，《高老庄》就是其中较为典型的代表。我们选取审丑美学理论其中的一个方面——“美丑并存”来解读《高老庄》，以期进一步解读贾平凹。

When ugliness comes to the domain of aesthetics, it becomes the ugliness of aesthetics, called appreciation of ugliness. Though appreciation of ugliness got no final conclusion in the academic circles, it always serves as a theoretical basis and symbol of the creative work of modernist school. Since 1990s, Jia Pingwa＇s aesthetic view began to change. Widely employing western modernist school＇s appreciation of ugliness is a prominent feature in his novels, among which ＂Gao Laozhuang＂ is a typical representation. In this article, we try to interpret ＂Gao LaoZhuang＂ by ＂coexistence of beauty and ugliness＂, in order to further interpret Jia Pingwa＇s aesthetic perspective.