CAJ | 학술논문

三十多年来的中国美学史著写作，无论有关中国关学的断代史、通史、艺术门类史、范畴史还是佛教史等，均初获丰硕成果，在坚持马克思主义唯物史观、艺术哲学与文化哲学等治史理念与方法上，做出了有益的尝试。而近年来对中国美学及其历史研究的所谓“破产”、“走进死胡同”与“困境”等说法，多陷于偏颇。事实上，研究者预设诸如“审美意识”、“美学理论”、“美学范畴”或“文脉”之类作为个别关学史著的主要研究对象，并非其研究理念和方法陷入了“困境”与“偏至”，而是学术研究的自由。关键在于方法与对象的相互适应、逻辑与历史的如何统一。从文化、哲学角度研究中国美学史，也不是糟糕的“文化决定论”，批评者所谓“面向事实本身”实为一伪命题。其所言“文化”、“哲学”，不是其相应美学史的“外在”与“异在”，而是涵泳、高蹈与沉潜之美学理性的“本在”。所谓“美学是美学，哲学是哲学”之说欠妥。
삼십다년래적중국미학사저사작，무론유관중국관학적단대사、통사、예술문류사、범주사환시불교사등，균초획봉석성과，재견지마극사주의유물사관、예술철학여문화철학등치사이념여방법상，주출료유익적상시。이근년래대중국미학급기역사연구적소위“파산”、“주진사호동”여“곤경”등설법，다함우편파。사실상，연구자예설제여“심미의식”、“미학이론”、“미학범주”혹“문맥”지류작위개별관학사저적주요연구대상，병비기연구이념화방법함입료“곤경”여“편지”，이시학술연구적자유。관건재우방법여대상적상호괄응、라집여역사적여하통일。종문화、철학각도연구중국미학사，야불시조고적“문화결정론”，비평자소위“면향사실본신”실위일위명제。기소언“문화”、“철학”，불시기상응미학사적“외재”여“이재”，이시함영、고도여침잠지미학이성적“본재”。소위“미학시미학，철학시철학”지설흠타。
The writings of Chinese aesthetics history in the past thirty years are following the road of the healthy and diversiform academic experiment and exploration. The research on Chinese aesthetics history made advances in fields of general history, dynastic history, art history, aesthetic concept history and the history of Buddhism aesthetics. In this paper, the author criticized the opinion of bankruptcy, dead end and dilemma in the research of Chinese aesthetics. The researchers preset such as aesthetic consciousness, aesthetic theory and aesthetic category or context class as the main object of study of individual aesthetic history book, not their research ideas and methods into a dilemma with partial to, but the freedom of academic research. The key is how to harmonize with the object of mutual adaptation, logic and history. This paper illustrates that the proposition of ＂facing the fact＂ in the Chinese aesthetic research is false. The method about the Chinese aesthetic study by culture study and philosophy, is not cultural determinism.