于不风流中见风流——冈崎义惠的日本“风流”美学论

Seeing Furyu in non-Furyu——Okazaki Yoshie’s Aesthetics of Japanese“Furyu”

“风流”作为一个美学概念,自中国发源后传入日本、朝鲜乃至整个东方,成为东方区域的美学概念之一。从日本美学家冈崎义惠的著作《风流的思想》可以看出,日本的“风流”经历了对中国“风流”之美亦步亦趋的阶段,之后逐渐摆脱中国的影响,并对诸如“物哀”“幽玄”“侘”“寂”等日本传统美学概念进行了整合、转化和改造,从而形成了独具日本民族特色的“风流”美学,具体表现在病苦风流、“侘”之风流、“寂”之风流三个方面,体现了“于不风流中见风流”的美学特点。通过与西方美学的对比,冈崎义惠确立了“风流”美学的东方区域共性,即对心性修炼的关注以及对超越达观之审美境界的追求。由此,“风流”既具备了东方区域美学的共性,也显现出了日本民族美学的特性,成为东方区域美学交流与形成过程中的典型范例。

“Furyu”,as an aesthetic concept,originated in China and then spread to Japan,Korea and the entire East,becoming one of the aesthetic concepts in the Eastern region.From the Japanese aesthetician,Okazaki Yoshie's book The Idea of Furyu,we can see that Japan’s furyu has gone through the stage of following the beauty of China’s“furyu”and then gradually get rid of the influence of Chi-na.It integrates,transforms and adapts the traditional Japanese aesthetic concepts such as“mono-no-aware”,“yugen”,“wabi”and“sabi”,thus forming a unique“furyu”aesthetics with Japanese national characteristics,mainly manifested in three aspects:the furyu of indisposition,the furyu of“wabi”and the furyu of“sabi”,showing the aesthetic characteristics of“seeing“furyu”in non-furyu”.Through comparison with Western aesthetics,Okazaki Yoshie established the Eastern regional commonality of“furyu”aesthetics,which focuses on the cultivation of mindfulness and the pursuit of a transcendental aesthetic realm of enlightenment.Therefore,“fu-ryu”possesses the commonality of aesthetics in Eastern region as well as the characteristics of Japanese national aesthetics,and has be-come a typical example of the process of exchange and formation of aesthetics in Eastern region.