吕荧美学思想特征论——在主体性与社会性之间的振摆

On Characteristics of Lyu Ying’s Aesthetic Theory:Between Subjectivity and Sociality

作为中国“主观派”美学的代表人物,吕荧长期不受学界重视,其美学思想也常被化约为“美在主观”。事实上,吕荧美学思想极富涵容性,它围绕美本质观生发开来,统合了审美活动中的主体与社会两个范畴,特征立体且鲜明。一方面,吕荧以审美主体的观念、判断作为美或不美的评价依凭,并以“人”的现实境况作为“美”的终极尺度;另一方面,吕荧把社会生活看作“美”的发源地,主张一切美的观念皆生成于社会生活,并伴随社会生活发生相应的更变。质言之,吕荧美学思想并未显现出某种极端而彻底的立场。它位于主体性与社会性的中间地带,虽偏向于主体一维,却始终维持着一种振摆的姿态。

Lyu Ying,as one of the most representative aestheticians in modern China,had not gained enough focus in academics,and his aesthetic thoughts was always simplified into“Beauty depends on humans’idea”.However,Lyu Ying’s aesthetic theory,which aimed at the essence of beauty,is an integration of two categories:subjectivity and society.On the one hand,it sets subjective ideas and judgments as the standard of beauty,the actual conditions of human beings as the aim of beauty;On the other hand,Lyu Ying argues that beauty,and the idea of beauty,are derived from and based on social lives.Put it bluntly,Lyu Ying’s aesthetic theory holds moderate position,which means it exists in the middle area of subjectivity and sociality as a whole,although it’s emphasizes on aesthetic subjects.