1920年前后梁启超对文艺复兴的借镜

Liang Qichao's Interpretation and Evaluation of the Renaissance

1920年前后,梁启超对于文艺复兴和启蒙运动这两个欧洲近现代历史发展的重要阶段的性质做出区分,在批评后者将西方的现代发展引向歧途的同时,他将文艺复兴的人文主义及实践方向作为中国现代发展以及新文化建设的重要借镜,这与以胡适为代表的新文化运动的主流话语对于文艺复兴的启蒙主义化的理解分歧明显。梁启超将清代视做"中国之文艺复兴时代",这同样与更为强调新文化运动与文艺复兴的一致性的胡适形成差异。以文艺复兴为参照,梁启超既从清学的发展中确认了依靠自力走向现代的中国自我,也指出其片面强调理性。

Around 1920, Liang Qichao made a distinction between the natures of the Renaissance and the Enlight- enment, the two important stages in the development of modern European history. While criticizing the latter＇s misleading impact upon the development of modernization in the West, he studied and integrated the Renaissance＇s humanism and direction of practices into China＇s development of modernization and the New Cultural Movement. This is different from Hu Shi＇s interpretation of the Renaissance and the Enlightenment. Hu Shi at that time rep- resented the mainstream of the New Cultural Movement. Liang Qichao postulated that China＇s ＂Renaissance＂ had already taken place in the Qing Dynasty, which forms a striking contrast to Hu Shi＇s theory which emphasized the consistency of the New Cultural Movement and the Renaissance. Through referring to the Renaissance, Liang Qichao made a summary of the Qing scholarly advocates and postulated that self-reliance was the only key to the development of modernization in China, but at the same time he also pointed out its limitation.