Abstract: German classical aesthetics has played a fundamental role in the construction of Chinese modern aesthetics. We gave up the ambiguous thinking mode of Chinese ancient literary theory and entered a systematic analysis of concepts and theories. After 1980s, with the introduction of a large number of western theories, we reflected on German classical aesthetics represented by Kant and Hegel with the help of deconstructive ideological resources represented by Deleuze. Therefore, Chinese aesthetics presents different characteristics in the confrontation between German classical aesthetics and French deconstruction. In the perspective of German classical aesthetics, China has no philosophy, no tragedy and no system and is the “youth” of human civilization. In the deconstruction thoughts, Chinese culture has become the thinking resource criticizing western essentialism and dualistic model. With the change of frame of reference, our evaluation of traditional Chinese aesthetics is different, which tells that the construction of Chinese modern aesthetics should take root in the local, while critically learning from the west, critically absorbing the classics, to complete new knowledge production and creation in an open vision.

Key words: Deleuze, Hegel, Chinese aesthetics

摘要： 德国古典美学对中国现代美学的建构起了奠基性的作用,我们放弃了中国古代文论感悟、含混的思维模式,进入概念、理论的系统辨析,而1980年代后随着大量西方理论的引入,我们借助以德勒兹为代表的解构主义思想资源,对康德、黑格尔为代表的德国古典美学进行了反思。于是,中国美学在德国古典美学与法国解构思潮的交锋中呈现不同的特质:在德国古典美学的视域中,中国无哲学、无悲剧、无系统,是人类文明的“幼年”;而在解构思潮中,中国思想成为批判西方的本质主义与二元模式的一片“飞地”。随着参照系而改变,我们不断重塑也误读着中国传统美学。这启示我们中国现代美学的建构要扎根本土,批判地学习西方,批判地吸收古典,在开放的视域中完成新的知识生产和创造。

关键词: 德勒兹, 黑格尔, 中国美学