情感、艺术与礼乐——梁漱溟的审美论述及其思想意涵再思考

Emotion, Art, and Ritual-Music:A Re-examination of the Aesthetic Discourse of Liang Shuming and Its Intellectual Connotations

从情感、艺术和礼乐这三个概念切入,通过与德国浪漫派到生命哲学的思想脉络相参照,可以发现审美论述在梁漱溟那里的三重思想意涵。在本体论层面,情感与艺术能克服近代西方理性主义哲学的两种缺陷,在主客合一中把握到作为“生命”的宇宙。审美论述也指向一种关于人生意义根基的道德-情感,在历史中体现为礼乐实践和艺术的人生态度。审美论述也紧密关联着梁的政治思考:一是启发个体的内在之“诚”,使之确立为自主的、自觉与他人连带的政治主体,并指向“散沙”之国的团体凝聚;二是使政治主体能具有充沛的行动能量;三则意味着以一种伦理与审美的人性观念重新结构“社会”的礼乐理想,以克服现代世界危机及作为其哲学根源的主客分裂,从而再造未来新文明。梁的乡建理论与实践中包含着上述审美维度,这一维度同时被组织进梁关于中国民族自救和世界未来出路的探索中。

This article re-examines the intellectual connotations of Liang Shuming’s aesthetic discourse from the three aspects of emotion, art, and ritual-music, and by referencing to German thought from Romanticism to philosophy of life. Ontologically, emotion and artovercome the inherent deficiencies of modern Western philosophy of rationalism, and grasp the reality of the cosmos as “life” in the unity of subject and object. Aesthetic discourse points to a moral-emotional approach to the meaning of and foundations for human life. It is historically represented as the practice of ritual-music and the artistic view of life. Liang’s aesthetic discourse is also closely related to his political thinking. First, it arouses individual self-conscious sincerity, establishes the sincerity as the political subject that is autonomous, self-conscious and linked to the others, and leading to community solidarity in a nation of disunity. Second, it provides political subjects with abundant energy for action. Third, it implies an ideal of ritual-music that can reconstruct the society on the basis of the concept of ethic and aesthetic human nature, so that the split of the subject and object underlying the modern world crisis may be overcome and a new civilization toward the future may be reconstructed. Liang’s theory on and practice of rural reconstruction include an aesthetic dimension, which is structured into his exploration for the liberation of the Chinese nation and the future of the world.