【摘要】：高友工跨藝術(shù)門類建構(gòu)"中國(guó)抒情美學(xué)理論史"主要做了兩方面工作:一是借鑒余英時(shí)的中國(guó)文化史的"四次轉(zhuǎn)型"論,歷時(shí)性梳理中國(guó)抒情美學(xué)史之萌芽、奠基、實(shí)踐、綜合、式微的流變過程;二是綜合歷代樂論、文論、書論、詩論、畫論共構(gòu)"一個(gè)較完整的中國(guó)美典的發(fā)展",可謂既歷時(shí)性地交待了中國(guó)抒情美學(xué)史的發(fā)展軌跡,又共時(shí)性地展現(xiàn)中國(guó)藝術(shù)精神的跨藝術(shù)門類版圖。但遺憾的是,高友工跨藝術(shù)門類建構(gòu)的"中國(guó)抒情美學(xué)理論史"卻是一個(gè)虛構(gòu)的預(yù)設(shè),不僅與其抒情美學(xué)理論的相關(guān)論述矛盾,這么宏闊的進(jìn)化論史觀根本無力描述中國(guó)各藝術(shù)門類的發(fā)展實(shí)際。其洞見與不見都有待學(xué)界反思。
[Abstract]:Gao Yougong has done two main works in constructing "the History of Chinese Lyric Aesthetics Theory" across artistic categories: first, drawing lessons from Yu Yingshi's theory of "four transformations" in the history of Chinese culture, combing the germination, foundation, and practice of the history of Chinese lyric aesthetics in a diachronic manner. The second is to synthesize the music theory, literary theory, book theory, poetry theory, and painting theory of the past dynasties to construct "the development of a relatively complete Chinese beauty canon", which can be described as a diachronic account of the development track of Chinese lyric aesthetic history. It also shows the cross-artistic domain of Chinese art spirit. Unfortunately, Gao Yougong's "History of Chinese Lyric Aesthetics Theory", which is constructed across art categories, is a fictional presupposition, which is not only contradictory to the related exposition of his lyric aesthetics theory. Such a broad historical view of evolution can not describe the development of various categories of art in China. Its insight and missing are to be reconsidered by the academic circles.
【作者單位】： 佛山科學(xué)技術(shù)學(xué)院文學(xué)院;
【基金】：廣東省高校優(yōu)秀青年教師培養(yǎng)項(xiàng)目“中國(guó)抒情傳統(tǒng)海外建構(gòu)研究”(YQ2015166) 廣東省教育廳人文社科研究一般項(xiàng)目“臺(tái)港新儒學(xué)美學(xué)核心問題研究”(2013WYXM0118) 佛山科學(xué)技術(shù)學(xué)院優(yōu)秀青年教師培養(yǎng)項(xiàng)目“高友工與中國(guó)抒情學(xué)的海外建構(gòu)”(FSYQ-201401)
【分類號(hào)】：I01

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