“中和”范式·“阴阳两仪”·“一两”思维 ——中国美学精神的思维文化探源的论文.docVIP

“中和”范式·“阴阳两仪”·“一两”思维 ——中国美学精神的思维文化探源的论文 “中和”范式·“阴阳两仪”·“一两”思维 ——中国美学精神的思维文化探源的论文 摘要：中国美学以“中和”为最高境界和理论范式，乃源于独特而深厚的民族思维文化。其一，“中和”范式以审美矛盾因素的两面、两极、两端……（即“两”）为基本架构，这正贯彻了中国传统以“物生有两”观念为基点的“耦两”型或以《易》为范本的“阴阳两仪”型思维模式。其二，中国传统“耦两”思维同西方近代的主客二元思维根本不同，其本质差异就在于“耦两”思维不脱离“一”的根本原则，关注的是“一两”关系。立“两”最终是为了明“一”。其三，“两”所济所明的“一”实质上就是“中”。“中”同“美是和谐”的古典美学理念相结合，就形成了“中和”这一中国特色的美学范式。 关键词： 中和范式；“阴阳两仪”思维；“一两”模型；“中”范畴  the normal form of “appropriateness and harmoniousness”,  “two modes of yin and yang”, and the thinking pattern of “onetwo”:  the sources of the thinking culture of chinese esthetics spirit abstract: originated from the unique and profound national thinking culture, chinese aesthetics takes “appropriateness and harmoniousness” as its consummate state and typical theoretical form. at first, the typical form of “appropriateness and harmoniousness” is basically constructed by aesthetic contradictory elements, such as two sides, two opposing extremes, two terminals, (namely, two） and so on, which just carries on the thinking mode of the concept of “things are produced with two” in chinese tradition or the type of “two modes of yin and yang” described in yi. secondly, the thinking of “inseparable dual two” in chinese tradition fundamentally differs from the modern western thinking of dualism with subject and object being separated. the essential distinction is that the thinking of “inseparable dual two” cannot be isolated from the cardinal principle of “one”, paying much attention to the correlation between “one” and “two”. the ultimate purpose of setting up “two” is to expound “one”. thirdly, the “one” explicated from the “two” essentially possesses the meaning of “mid” (appropriateness）. the combination of “appropriateness” with the classical aesthetic idea of that “beauty is harmony” formed the chinese unique aesthetical normal form of “appropriateness harmoniousness”. key words: normal form of appropriateness ampharmoniousnessthinking of “two modes of yin and yang”“