摘要
(托名)狄奥尼修斯的美学并非从感觉出发的审美美学,而是从古典哲学出发而奠基在他的哲学神学基础之上的本体形上美学,这其中蕴含着神学论的主题。美首先是上帝所专有的绝对谓项,上帝是超验之美、原初之美、永恒之美,赋予此间世界一切存在以美的属性;由此才有了此间世界之美和艺术之美。他的本体形上美学是基督教美学和古典美学的分水岭,不仅直接造就了基督教哲学的思维方式,而且在关注和分析质料与形式之关系的前提下,还对于拜占庭的艺术理论、特别是圣像理论的形成与发展有着决定性的影响。
Pseudo-Dionysius′s metaphysical aesthetics of ontology is not a kind of aesthetics based on perception but a metaphysical aesthetics of ontology based on his philosophical theology with its origin in classical philosophy.Firstly,beauty is God′s absolute predicate,who is transcendental beauty,original beauty and eternal beauty,and endows all in existence with beauty,thus,there is the beauty of the world and of art.His metaphysical aesthetics of ontology is the watershed between Christian aesthetics and classical aesthetics and directly results in the thinking way of Christian philosophy and exerts a decisive influence on the formation of the theory of Byzantine art and especially the icon theory.
出处
《云南大学学报（社会科学版）》
CSSCI
北大核心
2013年第1期67-83,112,共17页
The Journal of Yunnan University:Social Sciences Edition
作者简介
徐龙飞，男，哲学博士，北京大学哲学系、外国哲学研究所副教授。
