论老庄美学与中西美育精神之差异

On Laozi-Zhuangzi’s Aesthetics and the Difference between the Spirit of Chinese and Western Aesthetic Education

摘要: 中国美学教学中，侧重将老庄美学定位为与康德类似的审美超越派，并注重用康德式的无利害审美观念来诠释其主要内涵。这种看法固然说明了老庄思想相对于儒家美学的超世俗性，但没有很好地说明老庄思想所体现的中国美学特点。事实上，如果对康德的审美理论进行深入研究，那我们便可以发现以老庄为代表的中国美学与以康德美学为代表的西方美学有着本质的差异，在新时代美学教育过程中，我们应该正确理解这种差异，并阐释好老庄美学独有的涤除玄鉴的观道思想、心斋坐忘的体道思想和乘物游心的守道思想。

Abstract: In the teaching of Chinese aesthetics, Zhuangzi and Zhuangzi’s aesthetics are positioned as an aesthetic transcendence school similar to Kant, and the main connotations are interpreted by Kant’s innocuous aesthetic concept. This view certainly illustrates the super-secular nature of Lao Zhuang’s thought relative to Confucian aesthetics, but it does not well explain the characteristics of Chinese aesthetics embodied in Lao Zhuang’s thought. In fact, if we conduct an in-depth study of Kant’s aesthetic theory, we can find that there are essential differences between the Chinese aesthetics represented by Lao Zhuang and the Western aesthetics represented by Kant’s aesthetics. In the process of aesthetic education in the new era, we should correctly understand this difference, and explain the unique Taoist thoughts of Lao Zhuang’s aesthetics, the thought of Xuanjian, Xinzhai’s and Chengwuyouxin.