中国审美文化史书写的问题与方法

Problems and Methods in Writing Chinese Aesthetic History

从20世纪80年代开始,审美文化研究开始逐渐进入中国学者的视野,为了借鉴文化研究的方法从而对美学史写作做出一些调整,一系列的"中国审美文化史"著作应运而生。此种融合"形而上"的理论和"形而下"的器物的研究范式打破了美学史的自律范式,拓展了美学研究的空间,是"美学研究中的重大范式变革"。但此种写作并非是一种自觉化、学科化的研究,回归到美学史写作及文化研究来看,审美文化史研究对美学史研究的泛化,随意扩张自身的研究对象,或许面临着取消自身存在的依据;从文化研究的路径来看,审美文化史以膜拜的姿态来欣赏前人在艺术、生活上的创造,忽视了文化研究的现实批判及干预功能。

The study of aesthetic culture has gradually came into Chinese＂Chinese aesthetic history＂ came into being correspondingly by adoptingscholars＇ vision since 1980s and a series ofthe research methods of culture and adjustingthem to the aesthetic history. This integration of theory and research paradigm broke the self - sufficient paradigm inaesthetic history and therefore expanded its research space as the ＂major paradigm reform in aesthetic study＂. However,this kind of writing is not self - conscious and scientific, instead, it arbitrarily expands its research object by blurringthe boundary between the history of aesthetic culture and aesthetics in the context of aesthetic history and cultural studiesand thus it probably renders risks to its self- effacement. From the approach to cultural study, aesthetic cultural historyappreciates the ancestors＇ creation in arts and life with worship and thus overlooks the critical and interventional func-tions of cultural studies in reality.