西方美学的中国化与中国美学的世界化

20世纪以来，究竞是“中国美学”，抑或“西方美学在中国”？到目前为止还没有“世界美学”。长期以来，西方学界藐视东方美学的存在合理性和价值，而以西方美学为普世化的美学标准。国际美学格局中，东方美学缺乏话语权，本土美学与“世界美学”相背离。从普世化美学的视角来看，“西方美学”是一个泛化概念，而且它本身也只是地域性的本土美学，却并不是代表未来世界美学的参照蓝本。“中国美学”有古典与现代两个形态。在学科体系化和专业化以后的中国现代美学，有五种现代化的向度：科学向度，艺术学向度，生命哲学向度，马克思主义向度以及现象学向度。作为一种审美文化形态，以华夏艺术精神为核心的美学体系，能为世界文化带来与众不同的东方智慧。

Chinization of Western Aesthetics and Globalization of Chinese Aesthetics

Since the 20th century, should we name the aesthetics in China ＂Chinese aesthetics＂ or merely ＂Western aesthetics in China＂？ So far, there has been no ＂world aesthetics＂. For a long time, Western academia has neglected the existence and value of oriental aesthetics, and looked upon the Western aesthetics as the universal standard. The oriental scholars have strived to prove the infinite charm of oriental aesthetics and its legitimacy. There exists the deviation between the local aesthetic and the ＂World aesthetics＂. Chinese aesthetics includes its classic form and the modern one. The latter can be understood as involving five vectors： science, arts, life philosophy, Marxism and phenomenology. As a form of aesthetic culture, Chinese aesthetics can bring its larruping oriental wisdom into world culture.