20世纪中国美学史书写的范式与反思

The Paradigm and Reflection of Chinese Aesthetic History Writing in the th Century

摘要:

20世纪中国美学已经在多向度、多层次上得到学界的充分探究，但关于20世纪中国美学史书写问题的研究至今仍有所欠缺。审视20世纪中国美学复杂的发展历程及其文化生态，研究者主要运用了知识型与思想型两种书写范式，从而使20世纪中国美学史的书写呈现丰富的样态。知识型书写范式专注于美学知识的内在发展和美学体系内部逻辑化建构的书写方式，强调美学知识之间的联系性、整体性与谱系性，并可以划分为_“具体美学家的美学思想和美学理论_”“美学学术论争_”“古今美学关系_”等三种类型。思想型书写范式将美学视为社会文化的有机组成部分，强调美学_“症候式_”研究方法与意识形态效应，将美学的_“内部研究_”与_“外部研究_”进行有效整合，包括_“现代性角度_”“主题史方式_”“审美理想史范式_”“美学与政治的关系_”以及_“跨文化视野_”等若干类型。但是，在美学史研究和书写上依然存在一些需要重点解决的问题，涉及20世纪中国美学原始文献处理问题、中国美学史书写的逻辑思路问题、中国美学精神提炼问题等。这些问题的有效解决，能够为20世纪中国美学史的研究和书写提供新的理论增长点，推动当代中国美学在世界美学的交流对话中发出自己的声音。

Abstract:

The formation，development and evolution of Chinese aesthetics in the 20th century constitute a grand history of aesthetic development，forming a multi-level overall system including theoretical knowledge and disciplinary discourse，which had promoted Chinese aesthetics from classical form to modern form. However，the study of aesthetic history writing not only includes theoretical ontology research but also requires research on its research methods,research paradigms, overall structure, and logical thinking. It is necessary to deeply elucidate the different paradigms of aesthetic history writing , highlighting the structural,historical, and continuous characteristics of _“meta history_” research. As a result，the _“History of Chinese Aesthetics in the 20th Century_” presents a dual_“ knowledge-based_” and _“ideological_” writing paradigm，highlighting a diverse landscape in the research of aestheticians，theoretical categories，aesthetic issues ，aesthetic schools and debates，and aesthetic literature and historical materials. Based on the ontology of aesthetic theory，the knowledge-based writing paradigm emphasizes the connection，integrity and genealogy of knowledge within aesthetics， and highlights the logical correlation of different theories. Aesthetics is regarded as a kind of professional and scientific knowledge from the perspective of _“internal research_”，which demonstrates the academic independence of aesthetic research and aesthetic history writing. The paradigm of knowledge-based writing is mainly divided into three types：_“writing with the aesthetic ideas and theories of specific aestheticians as the writing object_”，_“writing with aesthetic academic debates as the writing object_”， and_“writing with aesthetic history from the perspective of the relationship between ancient and modern aesthetics_”. The ideological writing style regards aesthetics as an organic component of social culture，emphasizing the_“symptomatic_” research methods and ideological effects of aesthetics，effectively integrating _“internal research_” and _“external research_”of aesthetics，and achieving thematic research on the social background historical context changing mechanisms and cultural values of aesthetic development which had constructed an aesthetic history writing paradigm that emphasizes social historicity cultural connection and ideological integrity. The ideological approach highlights the characteristics of _“modernity perspective_”“thematic historical approach_”，_“ aesthetic ideal historical paradigm_”，_“relationship between aesthetics and politics_” and_“cross-cultural perspective _”in aesthetic history books and grasps the deeper ideological pulse of the era hidden behind aesthetic theory. At the same time，there are still some problems that need to be solved in the study and writing of aesthetic history. On the one hand，aesthetic issues such as _“aesthetic literature_”，_“logical thinking_”，and _“spiritual extraction_”summarize and sublimate the value of two writing paradigms of aesthetic history expanding the knowledge framework of aesthetic history research. On the other hand，it also provides necessary knowledge resources and research methods from a reflective perspective，seeking more space for breakthroughs in the writing of aesthetic history. This will not only help enrich the knowledge system of aesthetics，but also effectively construct the discourse system of Chinese aesthetics in the cultural context of the new era and spread the voice of Chinese aesthetics.