美学

The famous contemporary American aesthetician Thomas Munro initiates actively aesthetics towards science, the scientific aesthetics has been produced a widespread arid profound influence to western aesthetics., and it has been one of the two main kinds of western aesthetics.

当代美国著名美学家托马斯·门罗积极倡导美学应走科学美学之路，科学美学在西方美学界也产生了普遍而深远的影响，成为当代西方美学两大类型之一。

Firstly,it reviews the history of aesthetic disinterestedness.

论文以三个命题阐述康德美学与中国现代美学的内在关联：首先，回溯审美无利害的历史，结合中国传统美学，从审美态度、艺术独立的角度阐明审美无利害命题的重要作用，审美无利害性既奠定了现代美学学术的独立性，又揭示出现代美学的基本性质与特征；其次，诠释康德美学中的审美自由概念，在现代美学的语境中阐释了"美是道德的象征"的命题，同时阐明审美游戏与美育的自由特征，审美自由显示出现代美学的超越精神和乌托邦精神；第三，艺术的人生观或者人生的艺术化将艺术与人生紧密地联系起来，审美人生展示出现代美学的审美理想，成为现代美学的价值归宿。

Then it surveys the macroscopic historical development of thestudy on Kantan aesthetics in China in the past hundred years,and discusses the influenceof formalist aesthetics on traditional aesthetic approaches.

本文从宏观的角度审视了康德美学在中国的百年历程，概观了中国美学中的康德美学，论述了形式主义美学对传统美学思维方式的改造。

The second part discusses the relationship between "the Nineteen Ancient Poems" and the trend of aesthetics thought in the last years of Eastern Han dynasty, firstly, analyzes the reasons of the trend of aesthetics thought in the last years of Eastern Han dynasty from five aspects, the decline of Confucianism , the reviviscence of Lao.

第二部分论述《古诗十九首》与汉末美学思潮之关系。第一，从经学的衰颓、老庄思想的复归、社会政治、经济、楚骚美学和汉代文学五个方面对汉末美学思潮的形成原因进行分析，并指出在这些原因的共同作用下，形成汉末"个人自我之觉醒"的美学思潮；第二，从"贵真"思想的复萌、"感伤主义"的出现及美学意识对人生各个方面的渗透几个侧面，分析了汉末美学思潮的特点：第三，探讨了《古诗十九首》与汉末美学思潮的关系。

Prajna Esthetics stimulated, promoted and perfected the structure criterion and mechanism of Chinese Esthetics with its unique and various significance, particular and stretch elucidatory capacity.Moreover Prajna sutra as a special cultural carrier upgraded the broad-mind and transcendence of Chinese Esthetics with its interpretation and impelling power. The "being noumenon or function" of Madhyamika Prajna System transformed the systematical structure and practical mode of Chinese Esthetics into a "being thing or midst" and amalgamation visdothlw. On inheriting tradition vim of thinking much of life and intensifying Enlightenment interest with "Sacute vimutti", esthetical visdotblw conducted, and life visdotblw appreciated. And Chinese Esthetics made for an esthetical self-conscious era.

般若美学蕴涵的别致、丰富和阐释功能的独特、富有张力，极大地刺激、推动和完善了中国美学的价值结构与机制；作为特殊的文化载体，般若经之传译及佛法僧所具的强大文化感召力，使中国美学基于&生生&之悟更添旷达与超跋；而中观般若体系的&体用一如&，则把中国美学的体系构成与践行方式，转换到了&即物即中&、圆融观照的经验论美学状态，在绵延传统&重生&活力的同时，又以&空性&解脱强化&觉悟&意趣，审美境界人生化，人生境界审美化，在&重观重智&、&智观统一&的理论旨趣中，中国美学走向了追求心性空灵的审美自慌时代。

The theoretical basis guiding this thesis is dialectical materialism, the thesis regards the theory of life aesthetics as the basis of research, synthesizes the relevant theories and methods of China ancient aesthetics, reception aesthetic and hermeneutic aesthetic, and researches extendedly, systematically the historical construction and the meaning in literature -art aesthetics and culture study of "aesthetic field" in aesthetic aspect and historical culture "linguistic context" vision.

本文将以辩证唯物主义为指导，以生命美学为依托，综合中国古代美学中的相关理论，并结合西方接受美学及解释学美学等诸种理论与方法，系统地从美学层面和历史文化&语境&来对&审美场&的历史建构及其在文艺美学和文化研究中的意义作延伸性研究。

The aesthetics is the guide of art teaching art, there are a lot of aesthetics genres both in ancient and modern, China and foreign. Some of them have the most direct influence on art teaching, such as Confucian aesthetics, Taoist aesthetics and Zen aesthetics, heteronomous aesthetics, autonomy aesthetics, hermeneutic aesthetics and art sign aesthetics. We can get help from these theories to scan art teaching art, how to obey the character of appreciation beauty, how to follow the nature of the art, how to unseal the students taste mentality skillfully, how to show the artistic charm properly and all rounds.

艺术教学艺术需要美学的引领，古今中外有着许多的美学流派，其中中国的儒家美学、道家美学和禅宗美学，国外的他律美学与自律美学、解释学美学与接收美学以及艺术符号美学对艺术教学的影响最直接，从它们那里获得的启迪，都帮助本文审视艺术教学艺术，如何遵从了艺术的审美品格，如何尊重了艺术的本质，如何巧妙地开启学生的审美心理，恰当地全面地为学生展示艺术的魅力。

We of course can't deny the significance of transcendent asthetics and consumption asthetics. Because transcendent asthetics can give some critical proposal to the negative and had phenomenons in asthetic and art under market economic condition. Consumption asthetics possibly make some contribution to the research about connection between asthetic and consumption. But we should resolve a series of asthetic problem in the development of China socialism market economic realistically, historically and scientifically (expansively speaking, it's problem confronted by world contempory asthetics, including the connection between consumption and asthetic). We can't drop in some unrealistical and unhistorical fantasy, nor confused by temporary froth and illusion.We still need rely on the development of asthetics of Marxism practicing outlook nowadays.

我们当然不可否认&超越&美学及消费美学存在与发展的意义，因为&超越&美学可能对市场经济发展中，在审美与艺术方面出现的某些消极的、坏的现象提出某种批判的见解，消费美学也可能在研究消费与美的关系上作出某种贡献，但要现实地、历史地、科学地解决中国社会主义市场经济发展中出现的一系列美学问题（扩大开来说，也是当代世界美学面临的问题，包含消费与美的关系问题），既不堕入到各种非现实、非历史的玄想中去，也不为一时的泡沫、幻象所迷惑，仍然要依靠马克思主义实践观美学在当代的发展。

We managed to point out the orientalized and assimilated historical process by the study of their encounter, intercourse, combination and unification.The cultural origin and esthetical significance composed the logical elements with which to recur the historical encounter of Pratipad and New Taoism, and project their respective esthetical character and inherent inconsistency. We emphasize the intercourse between Pratipad that came on to in Wei-Jin era and Buddhist and metaphysics esthetics on the basis of Pratipad category, just for the lasting appeal and predilection of the latter could set off the existent significance of Madhyamika Prajna System. Here we do a summarize intent upon illuminating no other than the intercourse with which to lead Chinese Esthetics to a bran-new world.

本文以阐发般若范畴的文化渊源、美学蕴涵为理论探讨的逻辑基础；通过历史地再现般若学与玄学两面展开的理论境遇，凸现它们各自不同的美学品格与内在矛盾；而作为两晋际兴盛起来的般若学和基于般若学范畴展开的佛玄美学对话，是本文理论探讨的重要内容，惟其佛玄美学建构的丰富韵致与理论偏颇，才映衬了中观般若体系生成的美学意义；本文以中观般若体系具有的深在美学蕴涵及其对中国美学特出的范型意义为归结，指出正是中观般若体系实现了般若美学蕴涵与中国美学蕴涵的真正交融，这种交融从体系型态上把中国美学引向了新的生成之路。

Especially,we must enhance the study of China′s minority aesthetic theory and practics,and then integrate it with Han aesthetic study.

中国美学研究更不能固守汉族美学的传统，而应具有多元民族文化的视野，必须加紧研究少数民族的审美理论与实践，使汉族美学与少数民族美学相结合，使中国美学和西方美学相结合，形成具有中国多民族、多元审美文化特色的现代美学体系。

Do you know, i need you to come back

你知道吗，我需要你回来

Yang yinshu、Wang xiangsheng、Li decang,The first discovery of haemaphysalis conicinna.

1〕 杨银书，王祥生，李德昌。安徽省首次发现嗜群血蜱。