植田寿藏的“表象性”艺术哲学论析

Figurative Art Philosophy: Comment on Ueda Juzo's Aesthetic Ideas

植田寿藏是日本昭和前期美学研究的代表人物之一,其主要贡献是构建了以"表象性"为核心的美学、艺术哲学体系。植田寿藏美学研究的特色主要体现在三个方面:(1)对艺术世界无限的多样性、差异性的充分体认与尊重;(2)多重意义上的"对话"姿态;(3)"弱理论"品格。植田晚年曾总结自己一生的治学理念,即"不是为了生活而学问,而是为了学问而生活",表达了他对于学问的纯粹性的坚守。实际上,在他的美学研究中,同样体现了他对于审美和艺术的自律价值、对它的纯粹性的坚守。这种自律的美学立场在一般的情况下,不免招致脱离社会、轻视内容甚至形式主义之类的批评。但是,如果考虑到植田理论形成过程中的特殊历史语境——日本军国主义疯狂对外扩张、发动对中国及亚洲其他国家的侵略战争及太平洋战争,他所采取的这种超越的立场恰恰显示了其理论的可贵价值。这也是植田美学能够获得学界重新认识和评价的重要原因。

As a representative figure of aesthetics the early Japanese Syouwa period, Ueda Juzo constructed his aesthetics and art system with ＂figurative＂ as the core concept. His aesthetic studies represent itself in three aspects： the full understanding of the diversity and difference of the universe; the ＂dialogue＂ style in multiple layers; and the ＂soft＂ character. Ueda Juzo expressed his ideas in study, i.e., ＂live for learn, not learn for live＂, a position of pure studies. In reality, in his aesthetic studies, he expresses the same attitude, which under common circumstance might easily invite criticism for ＂isolation from society＂, ＂ignorance of the style＂ or as stylistism. But, on the other hand, taking the special historical context into consideration of the formation of his theory, i.e. the Japanese imperialism started aggressive wars against China and other Asian countries and the pacific wars into consideration, we find his transcendental position and the far distance from criticism posed on him showed a great value, which is a reason for his recognization in nowadays academics when we proceed our art and aesthetic studies.