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文艺理论研究 ›› 2020, Vol. 40 ›› Issue (3): 1-14.

• 中国特色社会主义话语体系研究 •    下一篇

中国创造性文化的特性及其存在形态

吴炫
  

  1. 上海财经大学人文学院
  • 出版日期:2020-05-25 发布日期:2020-06-09
  • 作者简介:吴炫,文学博士,上海财经大学人文学院讲席教授,中国文化理论原创中心主任,主要从事文学理论、美学和哲学研究。
  • 基金资助:

    上海财经大学“中国文学创造通史”国家重大社科基金预研究项目

The Characteristics of Chinese Creative Culture and Its Form of Existence

Wu Xuan   

  1. Shanghai University of Finance and Economics

  • Online:2020-05-25 Published:2020-06-09
  • About author:Wu Xuan,Ph. D., is a chair professor of art and humanities in Shanghai University of Finance and Economics and the director of the Center of Original Chinese Cultural Theory. His research areas include literary theory, aesthetics and philosophy.
  • Supported by:

    the Pre-research Project for National Major Social Sciences Foundation of Shanghai University of Finance and Economics

摘要:

中国文化与西方现代文化可以打通的创造性体现在:一,伏羲“先天八卦”“籍自然创人文符号”以及《史记》和《东坡易传》“尊儒道创个体哲学”,都是一种“尊重现实又改造现实”的中国式隐性文化创造经验,以“整体中的个体创造”区别于西方二元对立之创造。二,远古对生命力的崇拜、上古对生命的呵护为殷商文化艺术的创造奠定了基础,但在中国文化发展中一直未得到哲学的提升,这一定程度上使得中国文化现代化中断了对自身“生命—生命力—创造力”的有机关系思考。三,从殷墟的“雌雄对等玉雕”到先秦诸子的“思想对等争鸣”,再到唐宋的“文化对等交流”,不仅可以提供解构西方“二元对立”的思路,而且可为中国现代哲学美学提供“创造关系多元对等”的文化哲学观念。四,中国“分与合”的历史演变,文学经典中作家深层的个体化理解内容穿越表层儒道文化内容的张力,是创造性文化与规范性文化“对等互动”的存在形态,启示我们可以用“对等互动的中国文化”替代百年来“主导决定的中国文化”的认知。

关键词:

中国的隐性创造, 尊重性改造, 生命与生命力, 对等互动

Abstract:

Chinese creative culture intersects with modern Western culture in the following aspects. First, Fuxi's xiantian bagua (Prenatal Eight Trigrams Numbers), "creating symbols of humanity via nature," and the idea of "respecting Confucianism while creating philosophy of individualism" discussed in the Records of the Grand Historian and The Yi Commentary of Su Shi all represent the Chinese-style implicit creative experience of "respecting and transforming reality." Such experience — "creation of the individual within the whole" —  is distinguished from creation out of binary opposition in the West. Second, the worship of vitality and the cherishing of life in ancient times, which laid the foundation for Yinshang cultural and artistic creations, have not been promoted philosophically in the development of Chinese culture. To a certain degree, intellectual reflections upon the organic relationship of "life-vitality-creativity" has been interrupted in the Chinese cultural modernization. Third, the "male-and-female-equivalent jade carving" of Yinxu, the "ideological contest of equivalence" of the pre-Qin periods, and the "equivalent cultural exchanges" of the Tang and Song dynasties not only can offer resources for deconstructing the Western "binary opposition," but also can provide the cultural philosophy of "diverse and equivalent relationship of creativities for modern Chinese philosophy and aesthetics. Fourth, the historical evolution of Chinese understanding of "divide and unite," and the deeply individualized thinking of writers in literary classics penetrating and creating tensions in Confucianism and Taoism are existing forms of "equivalent interaction" between creative culture and regulative culture. The idea that "Chinese culture is characterized by equivalent interaction" can replace the perception of "a dominantly determined Chinese culture" that has been accepted for nearly a hundred years.

Key words:

China's implicit creation, reality-respecting transformation, life and vitality, equivalent interaction