俄国斯拉夫主义美学中的“综合”思想

The “Synthesis” Concept of Slavophilistic Aesthetic Theory

美学是俄国斯拉夫主义理论的重要组成部分。19世纪40—50年代斯拉夫主义运动鼎盛时期,诸如艺术与现实间的审美关系、科学思维与艺术思维、艺术认知特殊性、艺术创作完整性、艺术形式与内容等一系列俄国"文学中心主义"年代的迫切美学问题都在斯拉夫主义理论家的著作中得到了详细的论述。其中"综合"观念成为斯拉夫主义美学衡量艺术审美价值与伦理(道德)价值、艺术发生进程的出发点。基列耶夫斯基、霍米亚科夫、阿克萨科夫等核心理论家有关"综合"观念的论述揭示了作为典型俄国浪漫主义美学的斯拉夫主义美学区别于西方(欧洲)美学的特殊性。

The Slavophilism was an eye-catching movement in the localization of Russian ideology in the first half of the 19 th century, which was enough to compete with the Western school. Slavophilism was a national ideological school that integrated politics and philosophy, and aesthetics is the most important part of it. In prosperous times of Russia Slavic movement, a series of urgent aesthetic problems such as relationship between art and reality, scientific thinking and artistic thinking, cognitive particularity of art, the harmonious relationship between forms and content of art in "literary centrism" era have been elaborated in the writings of Slavophilistic theorists in the first half of the 19 th century. Among them the "synthesis" concept has become a starting point to measure the art aesthetic value and the artistic development process. The Slavophilistic idea of "synthesis" reveals the similarities and differences between the Slavophilistic organic aesthetics and European Romantic aesthetics.