Cheng huizhe
"You have an apple and I have an apple; Yours is for me and mine is for you. We each have an apple. You have an idea, I have an idea; If you give me yours and I give you mine, we will all have at least two ideas. " Philosophers' words contain a lot, and the significance of comparative aesthetics research is one of them, because we are exchanging ideas while comparing and studying, and our ideas have been greatly enriched. A few days ago, Pan Zhichang's new work "On Comparative Aesthetics between China and the West" injected new vitality into comparative aesthetics.
The book Comparative Aesthetics between China and the West is an anthology of some achievements of Mr. Pan Zhichang's research on comparative aesthetics between China and the West in recent twenty years. Moreover, "in order to leave my crooked but persistent footprint in the academic process", it is particularly important for the majority of post-scholars to understand the author's academic development in the past 20 years and his research methods through this book. This book is also a useful reference for those who have experienced it.
A thread running through the book is that China's aesthetic tradition and western aesthetic tradition are the background of mutual interpretation, and western phenomenological aesthetics is the intermediary. Because the western phenomenological aesthetics is in such an ideal intermediary position. It is the end of western aesthetic tradition and the real starting point of modern western aesthetics. It not only represents a complete rebellion against the western aesthetic tradition, but also represents a historic response to China's aesthetic tradition, which obviously provides an opportunity for the historic encounter between Chinese and western aesthetics. "
The reason why western phenomenological aesthetics can become the opportunity and fate of the second dialogue between Chinese and Western thoughts is that it is "an idea of criticizing and reflecting on the whole western thought". Under the guidance of this idea, the selection criteria of Lun Manuscripts are carried out from the perspective of comparison (aesthetics). This comparison is not to distinguish the advantages and disadvantages, to compete with each other, nor to seek common ground while reserving differences, but to reserve similarities while reserving differences, learn from each other's strengths, foster strengths and avoid weaknesses, and publicize each other. As far as China's aesthetic tradition and western aesthetic tradition are concerned, their respective strengths are their own shortcomings, and their shortcomings are also their own strengths, which should complement each other and coexist and prosper together. The author thinks that the characteristics of China's aesthetic tradition are: monologue aesthetics, knowledge aesthetics, perfect reasoning, analogy reasoning, macroscopic direct analysis of intuitive ability, knowledge, reality and common wisdom; The characteristics of western aesthetic tradition are: dialogue aesthetics, wisdom aesthetics, deductive reasoning, inductive reasoning, microscopic analysis of rational ability, love of wisdom, differentiation of true knowledge and wisdom. In the thinking way of research, the author emphasizes and practices "proceeding" rather than "following". Taking the above principles as the essence, this paper discusses the research methods in the book, as well as the thinking mechanism, basic paradigm, discipline form, heaven and earth realm, life spirit, carefree attitude, aesthetic types, female complex, perceptual characteristics, experience mode, aesthetic criticism, calligraphy and painting, etc. China's aesthetics. In addition, there is a lot of knowledge about anthropology, culturology, civilization history and religion, especially Buddhism and Zen.
Simple things are not difficult to explain; Anyone who explains profound truth is obscure, and others will not accuse him too much; But it is very valuable to be able to express difficult problems clearly, easily and not unfamiliar. The book Comparative Aesthetics between China and the West expresses many unspeakable aesthetic problems in vivid and emotional language, replaces the theory of thinking with the theory of poetry, and combines rational discussion with poetic sentiment.
People's Daily (6th edition, August 2000 19)