选择的西化:两种审美态度及其现代命运

Optional Westernization:Two Aesthetic Attitudes and Their Modern Destiny

中国美学的现代化是选择的西化,即根据中国美学的本土运作机制而作出的主动和积极的选择,换一个角度讲,这种选择的西化就是西方美学的中国化,中国美学的现代化是中国美学选择的西化和西方美学中国化的双向逆行运动,这是中西美学融合的基本途径。和世界上其他文明相比较,中国社会宗教色彩淡漠,以诗歌为代表的文艺的地位显赫,儒家的"诗教"和"乐教"观念及其艺术的实践,构成了中国传统和主流的审美态度,儒学化了的马克思主义美学因此成为主流。道家的"虚无"、"静寂"等超越尘俗的非功利审美态度因与儒家抵触而偏安于山水画一隅,奠定了中国美学接受以康德为代表非功利主义美学的基础,康德美学在中国与在西方的地位并不相称。当代中国退居边缘的山水画最终被当时的主流意识形态挤压和收编,无论是在艺术创作与理论研究领域,非功利主义的审美态度遭遇了同样的命运。

The modernization of Chinese Aesthetics is chosen westernization,that is,it is an initiative and positive choice based on Chinese intrinsic mechanism,in other words,the chosen westernization is Sinicization of western aesthetics.The modernization of Chinese aesthetics is an interactive development between chosen westernization of Chinese aesthetics and Sinicization of western aesthetics,actually it is the main way of the fusion between Chinese aesthetics and western one.Comparison with other civilizations,poetry is more important rather than religion in China.Confucianism moral-political understanding of art and Confucianized Marxism aesthetics has persisted down to be dominant aesthetical attitude in China.Taoist aesthetics argues emptiness and stillness which contradicts with Confucianism,and as similar as Kantian aesthetics which emphasizes disinterested,they keep non-mainstream.Kant＇s status is not equivalent between China and west.Fringed landscape painting is adapted by mainstream ideology in contemporary China.Non-utilitarianism aesthetic attitude falls same situation both artistic and theoretic field.