晚期希腊美学观念的分化与流变

The Differentiation and Evolution of Late Greek Aesthetic Ideas

希腊古典时期将诗歌与艺术的＂摹仿＂技艺作为求真的反面,认为摹仿导致虚构和幻象,从而起到妨碍公民德性养成与城邦健康的负面社会作用。希腊化直至晚期希腊,不再将＂摹仿＂与求真截然对立,强调想象力在＂摹仿＂技艺当中的重要性,奠定了想象在艺术创作当中的基础地位;进而着重从感官活动出发阐释了诗与艺术的怡情功能,伊壁鸠鲁学派强调诗歌的快乐感受,斯多亚学派则强调各门艺术在审美功能上理智认知与怡情德化的统一。总之,晚期希腊美学思想当中＂摹仿＂不再成为思想中心,而是从感官活动出发深入、细致探讨了诸多审美细节问题。

Classical Greek aesthetics recognized mimetic poet and art as contradicting to the pursuing truth. By mimesis artists made things to resemble reality but was a kind of fictional and illusory deception. This belonged to an inferior part of the individual＇ s and city-state＇ s soul,thereby subverted the perfect soul and rule of reason and republic. But in the hellenistic period and beyond,the most important tendencies were from Epicureanism and Stoicism. The former suggested aesthetic hedonism and the latter believed aesthetic cognitivism. Mimesis was not the core idea of hellenistic aesthetics any more. Phantasia was playing a more and more important role in the art and perception of beauty. The function of Art was not only in the ethic dimension but also further for the emotional and spiritual expressiveness.