摘要
王元骧从康德"人是目的"的思想出发,认为审美作为无利害的自由愉快,不仅可以使人排除欲望的支配而免于成为物的奴隶,而且可以培养人的"爱"与"敬"的情感。人若要按人的生存方式生活,维护人的人格独立和尊严,享受真正意义上的人生的快乐与幸福,就一刻也离不开审美。王建疆认为人生论美学根植于中华民族文化的土壤,有着深厚的思想资源,他强调了人生美的形态学特征,认为这不仅是审美形态学研究方面的超越,还具有恢复审美的全面性和建构和谐社会的双重意义。金雅认为,人生论美学注重审美与人生相统一,倡导以美的情韵和精神来体味创化人生的境界,具有独特的学理性和实践性。它不仅是一种理论上的建构,也是一种价值上的信仰和实践中的践履,为生命的诗化和向美攀升打开广阔的天地,实现生命之谐和、翔舞与归真。
Wang Yuanxiang, started from Kantian idea of ＂humans are the object＂, holds that aesthetic process as a disinterested freedom and pleasure could not only get people from rid of materials but also training the feeling of ＂love＂ and ＂respect＂. Humans must not leave aesthetic process if they aim at maintaining independent personality and dignity and enjoying a true life with pleasure and happihess. Wang Jianjiang believes that the aesthetics for life is deeply-rooted in the Chinese culture. He emphasized the morphological features of aesthetics for life, and hopes that this study is not only tran- scendental but also has a double significance for resuming a comprehensive aesthetic conception and constructing a harmonious society. Jin Ya believes the unity of aesthetics and life, and such a unique theory is also a belief in valuation and a real practice as well.
出处
《学术月刊》
CSSCI
北大核心
2010年第4期92-97,共6页
Academic Monthly
关键词
人生
艺术
人生论美学
审美形态
life, art, aesthetics for life, aesthetic morphology
