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“幻象”是最具本体论含义的一个美学范畴。在中西美学和印度美学中,都有用“幻象”概念来表达具有审美和美学逻辑性质的内容。中国当代美学对幻象的本土性及与世界其他美学的相通性给予了充分的重视,以建构具有当代特色和民族美学特质的幻象美学本体论。通过探讨当代美学的幻象本体何以存在与可能的问题可知,审美、美、美感和美学都拥有幻象及其显现,幻象在存在论场域中实现美学意义的存在与转换,幻象之美是一种摇曳流动性的生成。
“Illusion ” is the most ontological meaning of an aesthetic category. In both Chinese and Western aesthetics and Indian aesthetics, there is the concept of “phantom ” to express the logical and aesthetic content of aesthetics and aesthetics. Chinese contemporary aesthetics pays sufficient attention to the local nature of the illusion and the connection with other aesthetics in the world in order to construct the phantom aesthetic ontology with the characteristics of the contemporary and national aesthetics. By exploring the existing and possible problems of the contemporary aesthetics’s phantasmic noumenon, we can see that the aesthetic, the aesthetic, the aesthetic and the aesthetic all have illusions and their appearance. The illusion realizes the existence and transformation of aesthetics in the field of ontology. The beauty of illusion is a kind of sway Liquidity generation.