中国当代美学的八大范畴及其变异

The Variation of the Eight Main theoretical Categories of Chinese Contemporary Aesthetics

在美学思维中，现代美的生成过程是以相互衔接的四种关系展示出来的，这就是本雄论入学重构的人己关系，认识论主体建构的物我关系，美感情智合成的交错关系以及艺术发展流变的对峙关系。在理论形态上，这种关系分别由本体论之“历史本体”与“生存本体”、认识论之“事识”与“物识”、审美构成之“直觉”与“观照”以及文艺思潮之“再现”与“表现”等八大范畴构建而成。由于对“审美”问题的严重错解，这个范畴体系在中国当代美学中遭到异化：本体论的“历史本体”与“生存本体”变异为见物不见人的“物律本体”与“物欲本体”；认识论的“事识”与“物识”变异为从观念出发的“定识”与从物欲出发的“艳识”；审美构成的“直觉”与“观照”变异为审美残缺的“情智两无”与“有情无智”；文艺思潮的“再现”与“表现”则变异为古典主义的“模仿”与“空灵”。八大美学范畴的异化，极大地阻遏了中国美学从古代转向现代的历史过程。

In the aesthetic thinking, the generation process of modern beauty is shown by four interrelated relationships which are the human-society relationship that reconstituted by ontological human studies, the things-persons relationship constructed by the subject of epistemology, the interlaced relationships between beauty, feeling, emotion and intelligence, as well as the confrontation relationships of art evolution. In theoretical form, these relationships are built from the following eight main theoretical categories： the historical ontology and existence ontology on the aspect of ontology, the cognition of social phenomenon and the cognition of abstract nature forms in epistemology, the intuition and contemplating of aesthetic consciousness, as well as the reproduction and expression in literary and artistic trends. Due to the serious misunderstanding of the aesthetic problem, this category system has been completely alienated in Chinese contemporary aesthetics： the historical ontology and existence ontology have been respectively dissociated into the ontology of abstract law and the ontology of material desire that sees things but not others; The two sides of subjective cognition are respectively dissociated into ＂conceptual cognition＂ which ignores social phenomenon but sets out from established concepts and the ＂cognition of formal beauty＂ that pursues dazzling formal beauty but abandons transcendental thoughts; The ＂intuition＂ and ＂contemplating＂ of art theory respectively alienated into two phenomenons of aesthetic incompleteness as both emotion and intelligence are absent, or one of the both being absent; Meanwhile the reproduction and expression of artistic theory are respectively alienated into ＂imitation＂ and ,, Unpredlctablhty of classicism. The comprehensive alienation of the eight aesthetic categories has greatly deterred the historical process of Chinese aesthetics from ancient to modern times.