中华审美现象学的构成

Phenomenology and Chinese Aesthetics of Image （Symposium）

杨春时认为,现象学作为哲学方法论是领会存在意义的途径,最终走向审美现象学;而中华美学认为审美是体道的方法,具有现象学的性质;它通过感兴、真情、意象、妙语等环节,使道得以显现。仲霞指出,西方审美现象学具有时间性倾向,经由对现实时间的超越把握存在的意义,最后向空间性审美现象学转化;中华审美现象学则具有空间性倾向,经由对现实空间的超越把握道的意义,在现代化的过程中向时间性审美现象学转化。毛宣国梳理了80年代以来自觉运用现象学观念与方法来阐释中国传统美学"意象"理论的三位代表人物叶朗、张祥龙、杨春时:叶朗立足于中国传统美学,整合西方现象学与中国传统意象美学的理论资源,提出了"美在意象"的理论;张祥龙以西方存在论现象学为依据,提出"现象本身是美的"的命题,将之与中国古代"意象"审美经验的阐释紧密联系;杨春时则以中国当代美学发展的理路与需要出发,提出"审美意象是现象学的现象"的观点,并以此为根据阐发中国"意象"美学的内涵。

Yang Chunshi holds that phenomenology as a philosophical methodology is the way of understanding the meaning of being, and finally to aesthetic phenomenology. While Chinese aesthetics believes that aesthetics is a method to experience dao （＂道＂） and it has the nature of phenomenology. Zhong Xia believes that the Western aesthetic phenomenology is time-oriented and it understands the meaning of being by transcending realist time, and finally turns to an aesthetic phenomenology of space. While Chinese aesthetics is space-oriented, it turns to time-oriented aesthetic phenomenology in the process of modernization by understanding the meaning of dao through transcending the realist space. Mao Xuanguo organizes the standpoint and selection of Ye Lang, Zhang Xianglong and Yang Chunshi, the three representative figures who consciously elucidate the traditional Chinese theory of ＂image＂ with the conception and method of phenomenology, and provides the contemporary Chinese aesthetic studies with new ideas and revelation.