蒋孔阳的美学——还原为审美现象的美学

蒋孔阳有一个较高的逻辑起点,一开始就将美学与艺术学做了区别,确认美学的对象是审美关系。所谓审美关系有双重含义,一是作为无自己定性的派生性概念,一是作为有自己定性的本原性概念,这两个概念的并存,表明蒋孔阳美学存在着深刻矛盾。蒋孔阳美学的精华处是从后一概念出发,将审美关系当作一种方法论,对美与美感作出的分析,及所提出的“美是多层累的突创”这样富有创意的命题。蒋孔阳美学通过审美关系的讨论,将美还原为审美现象,从而摆脱了实践美学所面临的二元论的困境,走向了一元论。

Jiang Kongyang''''s Aesthetic Theory: An Aesthetics Returns to Aesthetic Phenomenology

Jiang Kongyang has a high standpoint in logics. From the very beginning, he distinguishes aesthetics from the theory of art, and determines the object of aesthetics is the aesthetic relation. The socalled aesthetic relation has a double meaning. One is a deriving concept without its own set nature. The other is the original concept with its own set nature. The co-existence of these two concepts demonstrates a deep contradiction in Jiang Kongyang's aesthetic theory. The quintessence of his theory starts from the latter concept, which takes aesthetic relation as a methodology, as an analysis to beauty and aesthetic sense, and as a creative proposition that "beauty is a sudden creation after a multi-stratum accumulation". His aesthetic theory, through a discussion of aesthetic relation, returns beauty to an aesthetic phenomenology. Hence it gets rid of a dilemma of dualism for praxis aesthetics and goes to monism.