德国观念论美学中的直观理论

The Theory of Intuition in German Idealist Aesthetics

直观是德国观念论美学中的一个重要而复杂的概念,围绕这个概念展开的各种论述关系到现代美学的合理性、意义及限度等基本问题。康德从批判主义立场把直观限于感性的范围,同时将更高级的直观排除在审美活动之外,从而止步于审美内在价值的原则主张。康德之后的观念论者持续拓展这一论题,并逐渐转向审美、艺术与真理的问题,由此形成一种影响深远的审美主义思潮。在此过程中,费希特代表从批判观念论到主观观念论的转变,而荷尔德林、诺瓦利斯、F.施勒格尔和谢林则开辟了绝对观念论或客观唯心主义的方向。谢林的审美直观论把艺术当作真理唯一的、最高的显现方式,把艺术哲学看作整个体系的枢纽,赋予早期德国浪漫派的艺术宗教信念以系统哲学的形式,因此成为后启蒙时代审美主义持续扩张的动力。

Intuition is an important and complex concept in German idealist aesthetics.Various discussions around this concept are related to such fundamental questions as the reasonableness,meaning,and limitation of modern aesthetics.From his critical standpoint,Immanuel Kant confined intuition to the sphere of sensibility and excluded the higher intuition from aesthetic activities.Thus,the intrinsic value of aesthetics could only be demonstrated in principle.The Post-Kantian idealists continued to expand this subject and gradually turned to the relationship among aesthetics,art and truth,forming a far-reaching aesthetic trend.In this process,Fichte represented a shift from critical idealism to subjective idealism,while H9 lderlin,Novalis,F.Schlegel and Schelling opened up a new direction of absolute idealism or objective idealism.Schelling’s arguments on aesthetic intuition regarded art as the only and supreme way to manifest truth,and took artistic philosophy as the pivot of the whole system.This attempt endowed the early German Romanticist religious beliefs about art with a form of systematic philosophy,which later became the driving force behind the continued expansion of aestheticism in the Post-Enlightenment Era.