“趣味”范畴与中国美学现代性

Taste Category and the Modernity of Chinese Aesthetics

在考察和厘定"趣味"这一现代美学范畴在中国的形成时,我们发现,在西方,"趣味"由味觉范畴向美学范畴的转化,标志着现代性美学话语开始建立。而在中国,"趣"和"味"很早就有"审美鉴赏"的意思,但它们并不是在现代美学意义上的"趣味"范畴。"趣味"作为现代美学范畴的创立,必须建立在现代性结构的基础之上。因此,中国古典美学的"趣味"范畴需要经过现代转换,才是现代美学范畴。"趣味"范畴的现代转换,体现了中国美学现代性的特殊张力结构。"趣味"范畴典型代表了中国古典美学向现代美学转换过程中需要对支撑这一范畴的深层结构和基础转换的问题。在梁启超和朱光潜之后,摆脱了长久意识形态羁绊的中国现代美学,理应以"趣味"为关键之一的范畴构筑自身的美学理论,接续中国美学现代性的道路。

When reviewing and defining the formation of taste category in China,we found that In the west, the change of taste from palate category into aesthetics category marked the founding of aesthetics discourse, while in China, though taste contained a sense of aesthetics appreciation long ago, it did not belong to taste category of modern aesthetics. Therefore, only after modern transformation can taste category in classical aesthetics become a category of modern aesthetics. The modern transition of taste category presented a special tensile force of modernity of Chinese aesthetics. Taste category raised the problem of deep structure and foundation transformation when classical Chinese aesthetics switched into modern aesthetics. After IAang Qichao and Zhu Guangqian, modern Chinese aesthetics, breaking away from the restriction of ideology, should have constructed its aesthetics theories with taste as one of its key categories to continue the path of modernity of Chinese aesthetics.