叶朗意象美学的独特价值与理论困境

On the Unique Value and Theoretical Dilemma of Ye Lang's Image Aesthetics

美学学科自建立以来,在西方经历了一个从认识论到存在论的转向过程。作为西学东渐的产物,美学在中国也大致经历了类似的转向过程,这一过程集中体现于20世纪90年代的后实践美学与实践美学之间为期十多年的学术争鸣中,当代中国存在着的众多美学流派便是这一学术争鸣的产物。在众多美学流派中,叶朗的意象美学在文化自觉性方面尤为凸显。该理论立足中国美学,同时吸收西方现当代美学思想,建构起了一个全球性的“现代美学体系”,基本实现了从“美学在中国”到“中国美学”的成功演进,堪称典范。但是由于叶朗对“意象”的理解存在矛盾,使得该理论中的“意象”和“感兴”这两个核心概念界限不明,涵义不清,进而在理论根基上出现了动摇。

Since its establishment,aesthetics has experienced a process of turning from epistemology to ontology in the West.As a product of the eastward spread of Western learning,aesthetics in China has also experienced a similar turning process,which is embodied in the academic contention between post-practical aesthetics and practical aesthetics for more than ten years after the 1990s.Many aesthetic schools existing in contemporary China are the products of this academic contention.Among many aesthetic schools,Ye Lang's image aesthetics is particularly prominent in the aspect of cultural consciousness.This theory is based on Chinese aesthetics,while absorbing western modern and contemporary aesthetic thoughts,and constructs a global"modern aesthetic system",which basically realizes the successful evolution from"aesthetics in China"to"Chinese aesthetics".However,due to the contradiction in Ye Lang's understanding of"image",the two core concepts of"image"and"Ganxing"in the theory were mislocated,and the theoretical foundation was shaken.