康德的“审美共通感”、中国古代的“感应”与政治的美学化

Kant’s Aesthetic Common Sense, Ganyin in Ancient China and The Aestheticization of Politics

如若要给康德美学的核心概念“审美共通感”寻找一个中国式的对应概念,那么,它就是中国哲学里的“感应”了。虽然“感应”与“审美共通感”同样具有“感受的可交流性”的属性,但“感应”却作为一种人、我、物三位一体的此感彼应、感而遂通,以其亦心亦物、亦人亦天的性质,比起康德的那种不无唯心化的审美共通感,代表了一种更为深刻也更为健全的感受到的可交流性。认识到这一点,不仅意味着唯有中国的“感应美”而非康德共通感美才为我们真正指向了美之所以为美的指归,而且还意味着,也唯有中国的“感应美”而非康德共通感美才能使我们走出纯粹心灵交往的狭隘天地,跻身于现实的社会交往的广阔领域,从而使所谓“政治美学化”这一美好的社会愿景不再是痴人的呓语,而如同中国早期的“乐感政治”那样兑现为切实可行的人间真理。

If we want to find an equivalent Chinese concept for Kant’s core concept of“aesthetic common sense”,it must be the“Ganying”in Chinese philosophy.Although both“Ganying”and“aesthetic common sense”have the“communicability of feelings”,as the mutual induction and intercommunication among others,oneself and things that is three-in-one,“Ganying”includes the meaning of both heart and things,human and heaven,which represents a more profound and more robust communicability of feelings than Kant’s idealistic aesthetic common sense.This cognition not only means that it is Chinese“induction beauty”rather than Kant’s“aesthetic common sense”that indicates why the beauty is beauty,but also means that only Chinese“induction beauty”rather than Kant’s“aesthetic common sense”can make us out of the narrow world of pure communication of the soul and get into the broad field of the real social communication,thus the beautiful social vision of the so-called“aestheticization of politics”is no longer wishful thinking but developes into a viable truth of human life as the“musical politics”in early China.