汉晋之间:中国美学从宗经向尚艺的转进

Between the Han and Jin Dynasties: The Shift in Chinese Aesthetics from Upholding the Confucian Canon to Valuing the Arts

汉代美学研究涉及黄老、儒家以及道教、佛教诸方面,但构成其主干的仍是儒家。汉代儒家美学,在先秦和魏晋之间处于变而未变之局。就其不变而言,它接续了西周以降的礼乐传统;就其变而言,则一方面将这一传统发扬光大,另一方面因一系列命题的变异而衍生出新方向。这些命题主要指儒家的经、文、艺,分别形成经学美学、文学美学和艺术美学。其中,经学美学是最大宗,主要涉及儒家六经本身的美学特性及汉儒在相关阐释中的新变;文学美学指文学从知识性概念固化为制度性概念,并因审美因素的漫溢而成为具有现代特性的文学;艺术美学则主要涉及儒家对"经"、"艺"关系的认识以及艺术从六经之艺向一般艺术的延伸。经、文、艺三位一体,构成了汉代美学的主体框架。从汉晋历史看,这一框架并没有因汉王朝的灭亡而失效,而是仍以顺延形式对后世美学形成统摄和纵贯。这项研究意在表明三点看法:一是汉代在中国美学史中的地位必须重估;二是中国美学在两汉与魏晋之间的连续性大于断裂性;三是解决目前美学史研究的偏至有赖于美学史观的调整。

Han aesthetics involved Huang-Lao learning, Confucianism, Taoism and Buddhism,with Confucianism as its mainstay.The Confucian aesthetics of the Han dynasty,falling between the pre-Qin and Wei-Jin periods,hovered at a critical point between change and absence of change.In the latter sense,it continued the ritual and musical traditions since the Western Zhou;in the former sense,while carrying forward tradition,it led to a new direction arising from changes in a series of propositions. "Changes "refers to the fact that the study of Confucian classics,literature,and the arts had respectively developed into the aesthetics of the Confucian classics,literary aesthetics,and artistic aesthetics.The dominant aesthetics was that of the Confucian canon,involving the aesthetic features of the six Confucian classics and changes in the relevant interpretations of Han Confucian scholars. "Literary aesthetics" refers to literature’s development from a knowledge concept into an institutional one,in which a flood of aesthetic factors led to the emergence of a literature with modern characteristics;and artistic aesthetics mainly involves the Confucian understanding of the relationship between "the Confucian classics "and "the arts," and the extension of the arts from the six classical skills to arts in general.The trinity of Confucian classics,literature and the arts constituted the main framework of Han aesthetics.Historically,from the Han to the Jin,this framework was not invalidated by the fall of the Han dynasty;it continued to control and permeate the aesthetics of later generations.This study is intended to express three points:first,the place of the Han Dynasty in the history of Chinese aesthetics must be re-evaluated;second,the continuity of Chinese aesthetics from the Han to the Wei-Jin periods is more striking than its discontinuity;and third,solving the bias in current research on the history of aesthetics depends on adjusting our views on the history of aesthetics.