从美学与艺术范畴去探讨的中国哲学问题 ---浅谈二十世纪末法籍华裔学者对中国哲学在法国的发展所做出的贡献 : Chinese philosophy in the context of aesthetics and art ---The contribution of French-Chinese scholars to the development of Chinese philosophy in France at the end of the twentieth century Zh En

Résumé En Zh

This paper first shows how Chinese philosophy was discovered by a very large audience in France via aesthetics, through the best-known works of a diasporic Chinese figure, François Cheng, and then how Chinese philosophy was put into practice in France by another diasporic Chinese figure, Hsiung Ping-Ming. The paper explicates the role of aesthetics and the arts relative to philosophy. It analyzes different types of methodologies with reference to the Western path chosen by François Cheng, one nevertheless different from that of Western scholars, and to the Chinese path chosen by Hsiung Ping-Ming, which remains specific to the latter, compared to that of other Chinese scholars.

本文旨在于探讨两位重要的法籍华裔学者，法兰西学院院士程抱一（François Cheng, 1921-）和20世纪60年代即被法国艺评家誉为最具潜力的艺术家熊秉明(Hsiung Ping-Ming, 1922-2002) 对中国美学和艺术理论在西方哲学语境下的论述、影响和发展，尤其希望有助于拓宽读者的阅读层面，即以中国美学或艺术之理论，去理解中国思想形成之路。首先，本文指出程抱一在西方的主要贡献，藉重西方语言哲学、结构主义、精神分析等理论，解释中国诗与画的哲学含义，引起西方读者对中国艺术、文化与思想的看重。本文并突显出程抱一和用法语的汉学家如 François Jullien (于连)、Jean-François Billeter (毕来德)、西蒙內Jean-Marie Simonet（西蒙內)等学者论述中不同的或共同之处。其次，本文指出熊秉明对引介中国哲学思想的主要贡献，在于他不仅重视抽象的美学思考，而且他更强调中国文人把艺术的实践过程也视为是一种道德实践的文化哲学特质的一点。这一点，与之前的或当时的美学理论家，如王国维、朱光潜、宗白华、李泽厚等人沿袭西方区分美学与艺术实践的思想，作为思考中国艺术与美学的方法截然不同。