“味”的变奏与传统艺术的审美之“味”

"味"是中华传统艺术美学中非常重要的一个审美范畴,然其并非一开始就直指人的精神审美之思,它基于"饮食之味"的感官体验以及"哲学之味"的形而上学转变,最终走向美学的"审美之味"。"味"的艺术美学内涵既体现为丰富多义、绵延不绝的诸种滋味,又体现为静心忘我的咀嚼过程,并通过余味、淡味、体味等"家族相似"之语,凸显了其通向无限、平淡的审美旨趣和静悟的审美践行,表现为以有限达无限、化浓烈为平淡、虚心以悟道等审美特征。"味"这一艺术美学范畴,对当代中国以及全球社会精神生活依然富有积极的阐释力和范式意义。

The Variation of “Taste”and the Aesthetic “Taste” of Traditional Art

“Taste” is a very important aesthetic category in Chinese traditional art aesthetics. However, it does not directly refer to people’s spiritual aesthetic thinking from the beginning. It is based on the sensory experience of “the taste of diet”and the metaphysical transformation of “the taste of philosophy”, and finally moves towards the“taste of aesthetics”.The artistic and aesthetic connotation of “taste” is not only embodied in its rich polysemous and endless tastes, but also embodied in the mastication process of meditation and selflessness, and through the words of “family similarity”,such as aftertaste, light taste, experiential taste, etc., it highlights its aesthetic interests leading to infinity and mundanity and its aesthetic practice of understanding in calm which is manifested in aesthetic characteristics, such as reaching infinity from finity, turning extraordinary into ordinary, and understanding Tao with an open mind.The artistic and aesthetic category of “taste” is still full of positive explanatory power and paradigm significance to the spiritual life of contemporary China and global society.