东方艺术的“泛律性”及四个命题——大西克礼《东洋的艺术精神》的理论建构

The Theory of“Pantonomie”of Oriental Art and Its Four Propositions

日本著名美学家大西克礼的名著《东洋的艺术精神》运用东西方比较研究的方法,为“东洋艺术精神”的总体研究开了先路。他用“泛律性”这一概念来概括东方艺术发展演变的独特性,并提出了“东洋艺术精神”的四个命题:一是“‘泛律性’构造的持续”,二是“根源的本质性的深化”,三是“消极的自律性的强调”,四是“艺术与生活的深层融合”,还分析了“东洋艺术精神”及审美意识构造的三个层面,从而建构了东方艺术精神的理论体系。大西克礼“泛律性”理论的根本特点,是在各门知识的综合与分化的矛盾统一中,考察艺术与其他知识领域之间的关系。先在关系中定位,然后在比较中定性,由此揭示出东西方艺术精神的根本差异与相通,视点很高,观察很深。由于思想观念与时代条件的制约,大西克礼并没有提出关于东方各国美学共用的美学范畴,因此只能将其研究对象概括为“东方艺术精神”而不是“东方美学”,但在理论与方法上至今仍不失新意,对今后我们的东方艺术精神、东方文论的研究,对于东方美学史的体系建构,乃至将来从东方美学的视角重写世界美学史,都有相当的启发性。

Through a comparative study between the East and West,the eminent Japanese aesthetician Onishi Yoshinori paves the way for the overall observation of the Eastern spirit of art.In his masterpiece The"Eastern"Spirit of Art,he uses the concept"Pantonomie"to describe the characteristic feature of the evolution of Eastern art,and puts forward four propositions,namely,the continuation of the structure of"Pantonomie",the deepening of the essence of the source,the emphasis of negative self-discipline,and the deep integration of art and life.He constructs his theoretical system by analyzing the Eastern spirit of art and the three levels of aesthetic consciousness structure.His theory of"Pantonomie"examines the relationship between art and other fields of knowledge in the contradictory unity of synthesis and differentiation of various disciplines.He reveals the fundamental differences and similarities between the Eastern and Western artistic spirits by first locating them in the relationship,and then making qualitative judgments in the comparison.Onishi Yoshinori,however,fails to come up with any aesthetic category which can be shared by all the Eastern countries and could only define his object of study as"Eastern"spirit of art rather than Eastern aesthetics.Nevertheless,The"Eastern"spirit of art,which is original in its own right,will give an insight into our future study on the spirit of Eastern art and literary theory.It may even inform our systematic construction of the history of Eastern aesthetics and the rewriting of the history of world aesthetics from the perspective of Eastern aesthetics.