充餘之美: 唐君毅先生論中國藝術精神

Translated title of the contribution: The beauty of abundance: Tang Zunyi’s discourses on the spirit of Chinese aesthetics

文潔華

Research output: Contribution to journalArticlepeer-review

Abstract

本文主要以唐君毅先生《中國文化之精神價值》一書中的豐富論點,闡釋其謂藝術爲人生之“餘事”或“充餘之美”的概念。本文首先指出唐君毅先生的美學觀,離不開其黑格爾模態的“客體化”觀點,以及其結合儒家心性論的特殊性,并先從唐君毅先生論美感經驗的根源處開始探討。本文揭示了唐先生的心性觀如何使他論審美經驗時,强調一種“内在化的模式”,也就是主體“統體的覺攝”活動。此覺攝展示了客體相,其後心意活動才對客體作出“選擇與剖判”。本文指出,如此唐先生談審美經驗并非否定了主客關係,而是更上一層,先從形上的超越心體抽離覺攝的内容,并使其客體化之後開始欣賞客體,此乃唐先生所説的内心情調之客觀化。本文依此進一步理解其如何説中國藝術乃表現整個人之性情胸襟這一觀點,以及藝術如何根植於個人生命及精神活動之興趣,而對其所嚮往之形式有特定之要求。本文并由此超越心覺的活動理解中國藝術的“藏、修、息、游”,以及“充餘之美”的觀念。

This article bases its discussion on Tang Zunyi's aesthetics ideas in his representative work, ”The Spiritual Values of Chinese Culture”. It investigates how Tang's aesthetics has integrated Hegel's philosophical ideas and the philosophy of mind in Neo Confucianism, which has formulated his discussion of the origin of aesthetic experience. The article demonstrates Tang's focus on the immanent sphere of the transcendental mind, in which the objectification of the mind takes place only after the subject's primal experience, or its first encounter with things. Tang describes this transcendental experience as the ”totality of intuition”, hence comes the division of the subject and the object, and the functions and the activities of the subject onto the object, which includes the aesthetic attitude. The article further explicates Tang's reading of the various notions of Chinese aesthetics based on the nature of the origin of aesthetic experience, and his notion of the ”beauty of abundance”. This meaningful concept helps to understand the inter-relation between (moral) personality and artistic expression in the aesthetics discourses of Tang Zunyi.

This article bases its discussion on Tang Zunyi’s aesthetics ideas in his representative work, The Spiritual Values of Chinese Culture. It investigates how Tang’s aesthetics has integrated Hegel’s philosophical ideas and the philosophy of mind in Neo-Confucianism, which has formulated his discussion of the origin of aesthetic experience. The article demonstrates Tang’s focus on the immanent sphere of the transcendental mind, in which the objectification of the mind takes place only after the subject’s primal experience, or its first encounter with things. Tang describes this transcendental experience as the “totality of intuition”, hence comes the division of the subject and the object, and the functions and the activities of the subject onto the object, which includes the aesthetic attitude. The article further explicates Tang’s reading of the various notions of Chinese aesthetics based on the nature of the origin of aesthetic experience, and his notion of the “beauty of abundance”. This meaningful concept helps to understand the inter-relation between (moral) personality and artistic expression in the aesthetics discourses of Tang Zunyi.
Translated title of the contributionThe beauty of abundance: Tang Zunyi’s discourses on the spirit of Chinese aesthetics
Original languageChinese (Traditional)
Pages (from-to)433-456
Number of pages24
Journal人文中國學報
Issue number19
DOIs
Publication statusPublished - Oct 2013

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