王星拱的美学——研究艺术的科学

在中国现当代美学形态中，王星拱可算独特的一支。梁启超、蔡元培、王国维属于人文色彩比较重的一支；朱光潜、宗白华属于人文和科学结合的形态；王星拱则属于坚定的科学派。并且是这派美学的始作俑者，可惜这派美学的贡献至今学术界研究很不够。王星拱认为美学就是研究艺术的科学；美严格地限定在感性和情感范围，因此，他讲的美学是拿科学的态度研究美感。从王星拱详加讨论的这些客观性的材料（雄健、阔大、悠久、众多、流动、秩序、连轴关系）来看，他对美的看法应该属于主客体统一的观点，他既肯定这些“外在客体”作为审美材料的先决条件，又主张人的主观对材料的加工的结果——艺术=美。王星拱的美学思想太局限于经验领域，他虽然也讲美感需上升到理性层面。但他讲的“理性”是在经验范围内的。王星拱美学突出了逻辑和科学，而对精神科学的形而上有所忽略。

Wang Xinggong’s Aesthetics——A Science Orienting at Art Research

Asa pioneer, Wang Xionggong stands out among modern Chinese aesthetics schools, due to his adherence to science-dominated aesthetics, in contrast with Liang Qichao, Cai Yuanpei and Wang Guowei who are devoted to humanistic aesthetics, and Zhu Guangqian and Zong Baihua who combine humanism and science. Regrettably, researches into Wang’s aesthetic theory are far from deep. Wang advocates thataesthetics is an art-research science, and beauty is strictly defined as senses and feelings. So his aesthetics is a scientific research of aesthetic perception. By analyzing his attachment to objective materials such as masculinity, inclusiveness, expanse, multitude, mobility, orderliness and connectedness, he is proven to belong to the school of blending and balancing the objective and the subjective, accepting the ‘external objects’ as prerequisite for aesthetic materials, and insisting on the subjective processing and its results, equating art to beautyfinally. Wang’s aesthetics is confined to empiricism despite his mentioning of aesthetic perception ascending to rational realm. Thus, he is characterized by highlighting logic and science while neglecting the metaphysics within spiritual science.