吴宓艺术美学思想新论

学界长期有一种观念认为吴宓的艺术思想是芜杂且悖论丛生。本文从吴宓非系统性的论述中归纳出了他的思想路径,看其如何架起了中西古今文化的桥梁。他在诸多文章中所介绍的西方古典主义美学思想只是他思考的起点,即艺术门类之间存在性质区隔。他的思想成果真正体现于他结合中国文化思想所创造的"三境"和"音律"两个概念。与传统保守的古典主义不同,其艺术美学的思想核心是坚守人文主义的价值观。

New Ideas on Wu Mi's Ideology of Art Aesthetics

For a long time in the academic circles, there has been a perception that Wu Mig artistic thought is in a jumble and full of paradox. This paper summarizes the sources and paths of his thought out of his non - system atic exposition of his ideas so as to see how they served as a bridge between Chinese and Western cultures, and the ancient and modem ones as well. Western classical aesthetic thought he introduced in many articles is only the starting point of his thinking; namely, there is natural distinctiveness from one arts category to another. His real achievement is reflected nese culture. Different humanist values. in the two concepts of ＂Three Realms＂ and ＂Temperament＂ he created on the basis of Chinese culture. Different from traditional and conservative classicism, his ideological core of art aesthetics adheres to humanist values.