| Xu Fuguan (1903-1982) is an important figure of modern Neo-Confucianism. He actually was a famous researcher with legendary stories in the modern Confucianism circle and Chinese humanity and academic history in the 20th century, though he was not familiar by Chinese cultural scholars until recent years. In his early years, Xu Fuguan joined the army and then served the government. Because he was so disappointed by politics, at the age of 40 he committed himself to academic studies under the guidance of Xiong Shili, a famous modern Neo-Confucianism researcher. Beginning a new career in his later years, Xu Fuguan devoted himself in the revival of glorious national culture, seeking mystery hidden in ancient and modern China. He took the Chinese classical aesthetics research as important constituent of his idea history research, launched the research with his inter-subjective historical consciousness, and carried on the thought profoundly under the theory of value insight on the Chinese arts spirit. His aesthetics thought was based on Western philosophy and at the same time passed on the Chinese classical aesthetics disposition through the modern academic languages, developing a Chinese classical aesthetics stretch in newborn world. Almost all scholars of the three generations in the modern Neo-Confucianism once have paid attention to the Chinese classical aesthetics, the main reason for selecting Xu Fuguan as an discussing character in the ancient Chinese aesthetics research is that his local color and personality in his aesthetics research is quite apparent, so it is easy for us to promulgate the possibility of realizing modernity transforms in Chinese domestic aesthetics in the globalization perspective.The present paper emphasizes Xu's methodology of which he carried on the study of the Chinese classical aesthetics under the thinking history frame, and his study on the Chinese classical esthetics ontology by using his method. The dissertation analyses some achievements and shortcomings in Xu's research on the classical literary style embarked from his unique aesthetics view and his painting theory. In conclusion, the dissertation mainly has appraised Xu Fuguan's unique contribution in three aspects, in which he makes in the Chinese classical aesthetics research area. Firstly, in methodology, Xu Fuguan integrated the research of classical literature, art and esthetics thought to the idea history perspective by his inter-subjective historical viewpoint, and to grasp the subject and the value resource of the Chinese artistic spirit by using the humanism method of pursuing experience. All this has laid Xu's studying and arguing foundation in his Chinese classical aesthetics research. Secondly, in ontology, to arrange and induce the concept of the second nature, Kant' concept loaned by Xu, to detonate the classical aesthetics concept of the image, the ideal world, and the boundary category, and rise to esthetics ontology level, the dissertation takes the second nature as the ontology core, makes reviews on subjectivity of artistic spirit, the classical aesthetic empiricism and the creation discussion, in order to frame Xu's research about ancient Chinese aesthetics into an evident net, to expose the modern scholarship inherited from the traditional scholarship, to revived its national culture identity, and try to realize the transform of classical aesthetics toward its modernity. Thirdly, in the aspect of classical artistic practice, by grasping two essential concepts of the literary style in classical literary theory and the qiyun vividness in the classical painting theory, the dissertation mainly reviews the concrete utilization in the artistic criticism practice of Xu Fuguan's classical aesthetics research methodology and ontology, distinguishes clearly its success and failure, clears off the right and wrong, and expounds its modern re-productivity from the classical aesthetics in the texture of the modern and ancient. By analyzing and discussing Xu's research about the ancient Chinese aesthetics, the dissertation revives the actual appearance of the core of the ancient aesthetics, explains its amplification and depth, and finds its contemporary value from the ancient aesthetics. To discuss in methodology, to probe the possibility of its modern transformation from the ancient aesthetics by appointing Xu Fuguan as the object to think, analyses and investigate in ancient Chinese aesthetics study, the dissertation maybe fill in the gaps in the field of Xu's cultural poetics study.In methodology, the dissertation pays great attention to some proposition, category and the question concerned by Xu in his ancient Chinese aesthetics study, and understands in its specific historical perspective. Based on the case study and sum up theatrically further, the dissertation reviews on the Chinese classical aesthetics research of Xu Fuguan in deep historical background, cleans up of its history origin, and discusses its modern significance. The dissertation makes endeavor to raise the problem after comprehensive study and assurance, based on careful arrangement of the original material, to guarantee the argument solid reliable. In addition to the introduction and conclusion, the dissertation altogether consists of 4 chapters.The first chapter discusses the aesthetics method in the frame of Xu's idea history. The first section has attempted to analysis and investigate Xu Fuguan's in-depth motives in his classical Chinese aesthetics research, by considering Xu's scholar career in the changing period of spirit in 20th century when national culture identity loses, looks for and regresses. In the second section, the dissertation mainly discusses the connotation of inter-subjectivity historical consciousness, expounds how Xu Fuguan sees through the contemporary value from the classical aesthetic practice, how he discovers the national and culture identity and human nature criterion. By arranging and analyzing the conceptual connotation in the spiritual subject in the Chinese art from traditional test, it can be seen that Xu's aesthetics is prescriptive and not descriptive, and what he concerns is not how to understand ancient art deeply and wholly, but how traditional artistic activity embodies traditional character and enlarges the depth and scope of the national cultural identity.The third section analyzes how Xu Fuguan with his profound humanism mind, uses this consciousness to integrate into his cultural and aesthetics research by using his pursuing experience, and then through methodological rethinking to explain its academic feature of Xu's learning in puasi-phenomenology and puasi-hermeneutics.The second chapter mainly evaluates Xu Fuguan's inter-subjectivity frame of hisstudy on the Chinese classical aesthetics. This chapter, divided into 4 aspects,discusses how Xu Fuguan constructs new perspective in the traditional aesthetics bycomparison between the Chinese artistic spirit and the Western phenomenology aesthetics thought. The discussed focal point does not lie in whether Xu Fuguan's explanation of the classical aesthetics surpasses the original discourse system of the text of the ancient literary theory, but lies in how Xu Fuguan embodies his gradual mature aesthetics concept during explanation classical, and how he systematically attempts to the analysis, reconstruct and, explore its significance and depth of his theory connotation.The second chapter has four sections. The first section arranges and induces the aesthetics category of the second nature in the ancient Chinese aesthetics, loaded from Kant. As the saying goes, many a little makes a mickle, the induction of the category forms, which is the non-systematical and metaphysical product formed by Xu's long-term and mid-metaphysical devotion on investigating the ancient aesthetics, and grasps the core of traditional aesthetical and cultural consciousness, consists in the affinity point of involvement between the west and China, and paves the new way for answering the essential problems with the traditional thoughts aesthetically.From the second to the fourth section, the dissertation investigates Xu's value interpretation to the Chinese artistic spirits, his preceding description to the ancient aesthetics experience, and his analysis in aesthetics creation to the artistic form, and finally fulfils the connotation of the second nature with the viewpoint of analyzing the ancient aesthetics rule. Because Xu thinks that the traditional Dao and Qi is the core term in humankind value system, the second section attempts to start with discussion on Xu's Mind study and mid-metaphysics, to master the clue Xu's interpretation of ancient aesthetics thoughts, and to interprets the Chinese artistic spirits in the value system of Fuguan learning. Xu's interpretation has got dual meanings. On one hand, it exposes the deep structure of aesthetics experience, which is Xu's own opinion at least. On the other hand, it affirms that the artistic activity connects with the spirit sphere and the world outlook in humankind cultural activity. Based on it, the third section probes Xu's proceeding description to ancient aesthetics experience by using the theoretical language perceiving through the senses, synaesthesia, imagination, commonly used in modern aesthetics conception. The dissertation contrasts concepts, and finds the affinity and difference between the above-mentioned three concepts with the general aesthetics theory, and points out Xu's redefinition to the ancient aesthetics terms by applying the modern academic aesthetics languages.The fourth section analyses the artistic form discussed by Xu from the perspective of artistic creation, not with its focus on form, but on the inner feature and creativity in artistic form, and exposes the aesthetic experience structure in implied inter-subjectivity, and points out the interpretation to living meaning and value. The aesthetic experience structure in inter-subjectivity has got its universality in aesthetics beyond time and space. When it meets with the audience's soul, the structural existence open as an intentional situation to wait for the audience to involve into the whole body, and re-perceives, re-learns from, re-explains some revelational aesthetic experience, and finally function to purify and deep the soul. As the artistic form is located in the relation with inter-subjectivity, Xu's argument with the problem of concrete and abstract, has nothing to do with modern artistic schools, and does not intentionally defend the Chinese traditional art achievements, attempts to point out the aesthetic view to bear the pursuit for the mission of the national and cultural identity by rethinking the world outlook, nature view and historical consciousness related with the artistic form, with the angle of national and humanism concern. Surrounded by the two core problems of literary style theory in ancient literary theory and the qiyun vividness in the classical painting theory, the third and fourth chapter mainly analyzes Xu's application of methodology and ontology in ancient aesthetic research into artistic criticism and practice.The third chapter discusses Xu's research on the literary style in Carving Dragon with Literary Heart"(wenxindiaolong), and probes his aesthetic concept of inter-subjectivity's significance in research and practice of ancient literary theory.The fourth chapter discusses the interpretation of qiyun view in ancient Chinese painting theory, and understands the producing process of the subject of the Chinese artistic spirit. By discussing in the two chapters, the dissertation views the inseparate unity of three parts: Xu's special aesthetic concepts, his rethinking about historical consciousness, and his understanding of traditional concepts. In Xu's methodological conscious, the interpretation to the tradition means thinking communication and spirit dialogue of the saying the past and present co-exists. It is the closely related question between what the Chinese culture is and where the Chinese culture goes, so based on comparing Xu's interpretation discourse and textual discourse in ancient aesthetics, the dissertation attempts to find the pre-understanding in his interpreting system, outlines how his pre-understanding deeply and correctly grasps the thread of thought in ancient aesthetics and finally proves its modern significance in Xu's research on ancient aestheticsFinally, in the conclusion part, the dissertation, in additional to summing up the contribution of Xu Fuguan's aesthetics, tries to introspect the value and in limitation in the ancient aesthetics research by applying the inter-subjectivety theory. |
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