重建中国美学研究的认知性维度

The Cognitive Dimension of Reconstructing the Chinese Aesthetic Research

当前中国美学史研究的问题在于学科理论与历史文化相分离导致美学研究呈现主体"中空"现象。这使得美学研究对象的独立性不强,与其他学科有明显的相似性。由于过分强调个体感性地位,在否定机械反映论的同时,也否定了认知性维度对美学的意义,从而压制了现实主义美学的发展。这是由新时期以来特定的历史背景所导致的。走出这一理论误区需要重建美学史研究的认知性维度,树立学科的主体性地位。这种主体性体现在两方面:一方面是美学理论的包容性问题,应从存在论和认知性两个维度理解美学理论;另一方面是美学史观问题,应更加注重思想史与美学史之间的潜在关系。

The current study of Chinese aesthetic history mainly aims at the ＂hollow＂ phenomenon of aesthetic research caused by the separation of subject theory and historical culture. It makes the aesthetic study object less independent. Then the aesthetic study is much similar to other subjects. At the same time, the individual emotional status is over stressed. Since the mechanical reflection theory is denied and the aesthetic significance from cognitive perspective is denied, the development of realistic aesthetics is limited. It hap- pened in the particular historical background since the new period. It needs to rebuild the cognitive perspective of the aesthetic history research and establish the dominant role of the subject to correct theoretical misconception. The dominant role is reflected in two ways ： on one hand, for the containment of the aesthetic theory, the aesthetic theory shall be understood from ontology and cognition; on the other hand, from aesthetic history view, much attention shall be paid to the potential relationship between intellectual history and histo- ry of aesthetics.