智的直觉与审美境界——牟宗三心体论的拱心石

Intellectual Intuition and Aesthetic Bourn:the Footstone of Mou Zongsan's Theory of Mental Noumenon

道德意志自由本体能否"呈现",人对此本体是否具有"智的直觉",是20世纪新儒学理论代表牟宗三与康德对判的中心论题,也是牟宗三新儒学核心之心体论拱心石。这一争论聚焦于心体是否可能以"当下顿现"取代对未来的信仰。牟氏的心体圆顿缺乏实践中介而终究落实于心体自身的审美境界感,并以更为自觉、强烈的现代性时间观批判重构了康德判断力批判。牟氏道德哲学及中国传统心性之学的现代性意义实质是美学性的。牟宗三哲学的美学性质是超出牟氏儒家伦理本位情结并被20世纪中国哲学史与中国美学史均忽视的一大课题。牟氏坚持道德心体超出审美境界的本体"呈现"与"直觉",实际突破了通常囿于艺术形式美与情趣生活美的美学视域而凸显出作为伦理行动的美。牟氏的道德理想主义心体论复现并发展了作为中国儒家美学深层代表的伦理行动美,而中国美学研究长期以道家美学及艺术学研究为主干。牟氏围绕伦理审美境界对心体意向宏大而精微的研究,客观上为20世纪中国美学提供了重要的补充,并成就了一种根基于中国传统的元美学。

It is the major concern of Mou Zongsan the representative of the 20th century Neo-Conruclamst criticism of Kant and also the footstone of his theory of mental noumenon whether the free noumenon of moral volition does present itself and whether one has ＂intellectual intuition＂ to this noumenon. The argument focuses on whether mental noumenon can substitute the ＂DANG XIA DUN WU （sudden comprehension）＂ for the belief in the future. Mou＇ s ＂YUAN DUN＂ of mental noumenon was actualized as a feeling of aesthetic bourn in mind for lack of a medium of practice and reconstructed Kant＇ s Critique of Judgment with a more self-conscious and more forceful modernistic view of time. Both Mou＇ s moral philosophy and Chinese traditional philosophy of mind were essentially aesthetic. Therefore, Mou＇s moral-idealistic theory of mental noumenon has re-presented and developed ethical aesthetics, which is in essencej representative of Confucianist aesthetics in China whereas aesthetic studies in China have long taken Taoist aesthetics and artistic study as their major areas of interest. Mou＇s extensive and intensive studies on predisposition of mental noumenon in terms of ethical aesthetic bourn made an objective supplement for the 20th century aesthetic study in China and established a meta-aesthetics based on Chinese traditions.