传承华夏美学传统中的对立统一美学范畴

• 作 者: 刘传刚 冯连生 唐吉青 张志刚 贺小兵
• 出 处: 花木盆景(盆景赏石)
• 发表日期: 2014年11期
• 关键词: 美学传统 中国古典美学 艺术体系 审美意识 一阴一阳 中国思想史 浪涌 思维形式 历史进程 长河

各个民族都在漫长的历史进程中形成了各自的审美尺度,去创造和衡量自己的艺术品。中国艺术如长河浪涌,波澜壮阔,融汇了中国思想史中的无数精华,在儒、道、释三大哲学流派的交叉、融合影响之中,而形成的中国古典美学,滋润着中国艺术体系的建构、形成和发展。中国古典美学是由中华民族独特的审美意识所决定的,自成体系,与西方美学体系迥然不同,是一种纯东方思维形式的存在。例如一和二,在古代的中国人看来,不仅仅是数字上的概念、奇数或偶数,并且可以从哲学、美学中找出对立统一的规律。所谓一阴一阳谓之道,从一

All ethnic groups have formed their own aesthetic standards in the long course of history to create and measure their own works of art. The surging waves of Chinese art, such as the mighty river, blend the innumerable essences in the history of Chinese thought, and the Chinese classical aesthetics formed by the cross and integration of the three major philosophical schools of Confucianism, Taoism and Buddhism moisten the Chinese art system Construction, formation and development. China’s classical aesthetics is determined by the unique aesthetic awareness of the Chinese nation. It is a self-contained system that is quite different from the western aesthetic system and is a purely oriental form of thinking. For example, one and two, in ancient Chinese view, not only the concept of numbers, odd or even, and from the philosophy, aesthetics can find the law of unity of opposites. The so-called one yin and one yang said that from one