摘要
中国美学教学中,侧重将老庄美学定位为与康德类似的审美超越派,并注重用康德式的无利害审美观念来诠释其主要内涵。这种看法固然说明了老庄思想相对于儒家美学的超世俗性,但没有很好地说明老庄思想所体现的中国美学特点。事实上,如果对康德的审美理论进行深入研究,那我们便可以发现以老庄为代表的中国美学与以康德美学为代表的西方美学有着本质的差异,在新时代美学教育过程中,我们应该正确理解这种差异,并阐释好老庄美学独有的涤除玄鉴的观道思想、心斋坐忘的体道思想和乘物游心的守道思想。
In the teaching of Chineseaesthetics, Zhuangzi and Zhuangzi’s aesthetics are positioned as an aesthetictranscendence school similar to Kant, and the main connotations are interpretedby Kant’s innocuous aesthetic concept. Thisview certainly illustrates the super-secular nature of Lao Zhuang’sthought relative to Confucian aesthetics, but it does not well explain thecharacteristics of Chinese aesthetics embodied in Lao Zhuang’s thought. In fact,if we conduct an in-depth study of Kant’s aesthetic theory, we can find thatthere are essential differences between the Chinese aesthetics represented byLao Zhuang and the Western aesthetics represented by Kant’s aesthetics. In theprocess of aesthetic education in the new era, we should correctly understandthis difference, and explain the unique Taoist thoughts of Lao Zhuang’saesthetics, the thought of Xuanjian, Xinzhai’s and Chengwuyouxin.
出处
《国学（汉斯）》
2020年第3期41-48,共8页
Chinese Traditional Culture
关键词
老庄
康德
美育
无利害性
Lao Zhuang
Kant
Aesthetics
Without Interest
