CAJ | 학술논문

中国没有西方意义上的美学，中国的美学应该是对应于中国心性哲学的“乐学”，这是劳承万新著《中国古代美学（乐学）形态论》的核心观点。中西哲学形态的不同，注定了中西美学学科形态也是不同的，作者提出了梳理中国古代美学形态的三项式框架：“器物-考古证明-心性哲学之过滤升华”，这是一大创见。他迥异于大陆学人的学术路子使得该著作的学术思路、方法和思考的问题给人耳目一新的感觉，该著作呈现出很多具有原创性和中国问题意识的理论新见，以及对整个20世纪以来中国美学研究的深刻反思。
중국몰유서방의의상적미학，중국적미학응해시대응우중국심성철학적“악학”，저시로승만신저《중국고대미학（악학）형태론》적핵심관점。중서철학형태적불동，주정료중서미학학과형태야시불동적，작자제출료소리중국고대미학형태적삼항식광가：“기물-고고증명-심성철학지과려승화”，저시일대창견。타형이우대륙학인적학술로자사득해저작적학술사로、방법화사고적문제급인이목일신적감각，해저작정현출흔다구유원창성화중국문제의식적이론신견，이급대정개20세기이래중국미학연구적심각반사。
China has no aesthetics in western ways, Chinese aesthetics should be gaietics, which is corresponding to Chinese mind-nature philosophy, this is the main point in professor LAO Chengwan＇s new work China＇s ancient aesthetics （Gaietics） . The different types of Chinese and western philosophy determine the differences between Chinese and western aesthetics. The book puts forward the frame （implements -archaeological proof -distillation of mind-nature philosophy） of studying Chinese ancient aesthetics, which is a kind of creative viewpoint. The authors academic way is so different from many researchers that makes the book has many original points.