论尼采“美与艺术”思想的逻辑结构

On the Logical Structure of Nietzsche's Thought of "Beauty and Art"

在众多19世纪欧洲哲学家当中，对20世纪艺术思想和美学思想产生过重大影响的哲学家当首推尼采。时至今日，尼采不仅被视为一个哲学家，而且被视为一个出类拔萃的艺术家和独一无二的诗人。（Fink，S．10）究其原因，在他那里，关于“美与艺术”的论题不仅是贯穿其全部作品的一条红线，也是其全部哲学思想的关键所在。但令人困惑的是，迄今学界还很少有人从“美与艺术”这一视角审视尼采的整个思想。当然，与其他尼采专家不同，雅斯贝尔斯、海德格尔、芬克（E．Fink）等人独辟蹊径，别出心裁地解释尼采思想，触及了尼采美学思想的不同侧面。不过令人遗憾的是，他们也并不认同“美与艺术”是尼采哲学思想的关键乃至核心所在。为此，本文将围绕尼采的主要著作，努力追寻他关于“美和艺术”思想的逻辑线索，阐明他的“创造美学”的基本特征，以此重塑艺术与美在他的哲学中的地位，重新勾画作为一个研究美与艺术的思想家尼采的新形象。

The issue of 'Beauty and Art' is not only a red line going over through the complete works of Nietzsche,but also the key and touchstone of all his philosophy.This paper focuses on 'the life Perspectives',searches for the logic trail of Nietzsche's thinking on beauty and art,outlines his thinking on the logic structure of beauty and art by stating the basic features of his 'Create Aesthetic',and reshapes Nietzsche's new image as a thinker of 'Beauty and Art'.Nietzsche's aesthetic is full of the spirit of Dionysus,'intoxicating aesthetic'/'creative aesthetic' or 'man's aesthetic',to him art is both essentially a great stimulant of life and is metaphysical act of life.