明代赏玩及其文化、美学批判

Ming Curios:A Cultural and Aesthetic Criticism

作为断代文化史、美学史重要标识的明代赏玩文化、美学,有其独特而完备的形态和内涵。在历史坐标图上,对接了宋代所产生的赏玩文化、美学。它的形成又跟明代整个社会风习的变化相关,表征着文化、美学思潮的重大变更。它是明代人对自我精神加以塑造的现象,又是生活方式、情调的替代性对象。赏与玩的整合,建构成完整的赏玩文化—美学。赏玩的审美理想和标准是"清",凝化为"清赏"、"幽赏",其背后是闲适心态。与此同时,明代赏玩的另一面却是:对象的真赝不辨、品位的良莠不齐。既氤氲着清风,又弥散着俗气;既显示了感性主义的高涨、审美的发展,又体现了士大夫精神的式微和艺术的沉沦。它从一个视角,展现了明代繁华而虚热的整体社会、文化状况。对明代的所谓个性解放、启蒙主义思潮的评价,学界似乎太过,应考量其历史进步性和落后性相并存的性质。从赏玩中诚然可以看出明代人会生活、懂艺术,精细、精致、精约,但缺位的却是美所最具活力的"气韵生动"和原始生态以及中国文化、美学最基本的民生关切、人文关怀精神。以此冰山一角,可以读解封建社会晚期中国社会停滞、落后的原因。

Being a landmark in the dynastic history and history of aesthetics, appreciation and enjoyment of curios in the Ming Dynasty should be a cultural and aesthetic phenomenon with its uniqueness. Though it is, historically speaking, a continuation of the same culture in the Song Dynasty, it could be a result from the social changes of the time, thus providing a perspective on the superfluously prosperous Ming society. In this social phenomenon, it is evidently proved that people in Ming society enjoy life and arts but are short of vitality, originality and human concern. This partly explains why China at that time stands still and lags behind.