凌空与落地:谈蒋孔阳艺术美学研究的两种理论面相

Soaring and Landing:Two Theoretical Faces of Jiang Kongyang’s Art Aesthetics Research

艺术美学是贯穿蒋孔阳美学研究始终的核心维度之一,在保持西方美学追求逻辑思辨的凌空性形上品格的同时,兼具中国美学注重审美体悟的落地性理论特色,形成了“形上形下兼得”的艺术美学整体面相。作为新时期最早涉足艺术美学研究的重要开拓者之一,蒋孔阳不仅与宗白华等学者一起在美学界历来侧重对美的本质、美感与自然美的先验探讨之外,开辟出艺术美学这一新的学术增长点并重新对接民国美学文脉,而且其“上下兼得式”的治学思路,在艺术学界也具有艺术美学研究的典范性,泽被后世,意义重大。

Art aesthetics is one of the core dimensions that runs through Jiang Kongyang's aesthetic research.His artistic aesthetic thinking not only maintains the metaphysical character of western aesthetics pursuing logical reasoning,but also embodies the theoretical aspect of landing that Chinese aesthetics emphasizes on aesthetic perception,forming an overall artistic aesthetic aspect of“both top and down”.As one of the important pioneers who first ventured into the study of art aesthetics in the new era,Jiang Kongyang,together with scholars such as Zong Baihua,not only focused on the prior exploration of the essence of beauty,beauty,and natural beauty in the aesthetic field,but also opened up a new academic growth point of art aesthetics and reconnected it with the aesthetic context of the Republic of China.Moreover,his“top-down”academic approach also has the exemplary characteristics of art aesthetics research in the field of art studies.