人的“显”“隐”——李泽厚实践美学的意义及其遮蔽

The “Manifest” and “Hidden” of Human Beings——The Significance and Obscurity of Li Zehou’s Practical Aestheti

李泽厚提出“美”是社会性和自然性交融统一的理论,忽略社会生活变革的历史隐情,显得抽象空洞。历史地看,“羊人为美”指涉商代先民图腾祭祀活动中感性愉悦的原始生发,而“羊大则美”隐喻礼乐文明语境中古人道德地劳动创造的理性审美愉悦。从“羊人为美”到“羊大则美”的审美注意的变迁,基于殷周之际人文主义鼎革的德性生命自觉和个体觉醒。所以,李泽厚实践美学追求思辨的理论建构,使作为人类总体的审美心理形式的“大写的人”“凸显”,而有着复杂审美体验的具体而微的“感性生命”处于“潜隐”之中。反思他“美”字诠释的得失,有助于把握当代美学回归个体生命的新方向。

and empty but detached from the historical mystery of social life transformation.“Yang Ren Wei Mei”(羊人为美)refers to the irrational perceptual pleasure of the totem sacrificial activities in Shang Dynasty,while“Yang Da Ze Mei”(羊大则美)is a metaphor for the rational aesthetic pleasure created by the ancients in the context of rites and music civilization.The historical evolution of aesthetic consciousness from“Yang Ren Wei Mei”to“Yang Da Ze Mei”is rooted in humanism and consciousness of moral life during the Yin and Zhou Dynasties.Therefore,the theoretical construction of li zehou’s practical aesthetics in pursuit of speculation leads to the“Capital Man”(大写的人)as the overall aesthetic psychological form of human being to“Manifest”(凸显),while the concrete but subtle“Individual Life”(感性生命)with complex aesthetic experience tends to“Hide”(潜隐).Reflecting on the gains and losses of this interpretation of“Beauty”is helpful to grasp the direction of the innovation of contemporary philosophical interpretation methods.