作　　者： ;

机构地区： 广州美术学院

出　　处： 《湖北大学学报：哲学社会科学版》 2007年第3期 65-68,共4页

摘　　要： 中国先秦、西方古希腊时期都已开始在比喻的意义上用味来阐释艺术现象。齐梁之际的钟嵘秉承一以贯之的以味喻艺的传统，提出“滋味说”，将味纳入关学领域；西方则在16世纪开始广泛讨论趣味，经由“古今之争”的推动，将趣味作为艺术学科的基础概念，才使趣味进入关学。中国关学直接将味引入审关领域，而西方则在剔除趣味感性意义的基础上使用它；“滋味说”是中国古典关学理论新的生发与丰富，“趣味批判”一方面为关学学科的确立奠定了基础，另一方面因与启蒙思潮相联系而具备着更为广阔的社会意义。 Before Qin Dynasty and in ancient Greece, taste had already been used as a kind of metaphor to discuss art. Between Qi and Liang Dynasty, Zhongrong bring out ＂Theory of Taste＂ on the base of metaphorical using of taste. Then taste became a important term in Chinese asthetics. On the contrast, it was 1400 years later, that is to say in 16th century that taste was paid much attention to. And through ＂Debate between Ancientness and Modernness＂, taste was used as the core term of art in western asthetics. In Chinese taste was directly brought into asthetics. In the west it was eliminated its perceptual sense before which was brought into asthetics. In Chinese, ＂Theory of Taste＂ enriched theory of asthetics. In western, ＂Critique of Taste＂ es- tablished the science of asthetics and possessed wide sense for its relation to The Enlightenment.

关 键 词： 滋味 趣味批判 言不尽意

分 类 号： [I0]

领　　域： []