“和”作为审美范畴的限度

Limitations of'Harmony'in the Aesthetic Category

"和"在先秦时期作为政治概念是最根本的。谈论"和"的主体主要是帝、王、公、侯,而他们谈论的主要目的就是如何通过"和"的手段"成其政也"。实现"和"的主要手段就是"乐"。"乐"并不诉诸于乐美,而是"乐正"。真正的"至乐"就是能使人静心、"纯德"。这种"乐正"之"和"其实质就是帝王治国之术。作为审美范畴的"和"是有其限度的,它只是康德所说的"审美的规范观念",而不是"审美理想"。审美创造关涉多样统一、相反相成的"和"的问题,但这并非常态。审美创造恰恰是不断偏离"和",不断破"格",而呈现为独异的、光怪陆离之美。"中和"作为"僵硬的合规则性"本身就含有违反审美趣味的成分。

ZOU Yuan-jiang 'Harmony'was essentially a political term during the pre-Qin period.Interested in'harmony'were mainly emperors,kings,and the highest aristocrats and officials,who used it to seek a proper way to an'accomplishment of politics'.'Music' was the chief way to realize'harmony.'The assessment of good music did not depend so much on the beauty as the'decorum'of music.The real'consummate music'is able to tranquilize one's mind and'purify morality.''Harmony'embedded in the'music decorum'is in essence a ruling strategy for emperors and kings.When it comes to the aesthetic domain,'harmony'has its range,being actually what Kant termed the'standard aesthetic values'rather than'aesthetic ideal.'Aesthetic creations involve either unified or complementary matters concerning'harmony,'however it's not the normal situation,which goes through incessant divergences from'harmony'and transcendence of'checks'before the unique and grotesque beauty finally emerges.As the'rigid regularization,''decorum and harmony'contains elements that violate aesthetic interests.