摘要：

从原始巫性文化角度探析中华审美意识的发生，论证中国原始巫性文化的人文特质，揭示从原始巫性走向审美诗性的内在机制，是中国美学的一种“本土化”研究。中国巫性文化的本土特质包含五个方面：以“大巫”居于重要地位；作为汉文字、类比思维、实用理性的历史与人文前导，对于科学技术具有某种程度的“宽容”；以祭祀祖神作为“中国巫”的独特品类，蕴含“生生哲学”的人文机制；从“巫”向“史”，形成影响深巨的“巫史传统”；封建王朝一般都对“大巫”文化采取崇尚与肯定的文化立场与国策。而从原始巫性转嬗为审美诗性的可能在于：原始巫性本就蕴含诗性审美这一历史与人文基因；构成中国美学主要范畴架构的“气、象、道”中，“巫性之气”成为中国式的“作为文化哲学的美学”的本原本体，“巫性之象”成为中国式的审美意象、意境说的历史与人文根因根性之一，“巫性之道”因其“实用理性”而历史地构系于德性生命“尽善尽美”的审美理想；巫性的“吉凶”判断，与审美诗性的性质不一而结构相同，可证从原始巫性走向审美诗性之可能。

关键词:

中国美学, 本土化, 巫性美学, 诗性审美

Abstract:

It is a “localized” study of Chinese aesthetics to analyze the occurrence of Chinese aesthetic consciousness from the perspective of primitive witchcraft culture, especially to demonstrate the humanistic qualities of Chinese primitive witchcraft culture, and to reveal the inner mechanism from primitive witchcraft to aesthetic poetry.The local qualities of Chinese witchcraft culture include following aspects: the Grand Wizard occupies an important position, which has a certain degree of lerance for science and technology, worships ancestral gods, ancient dynasties generally revered and recognized the culture of the “Great Wizard”. The possibility of the transmutation from primitive witchcraft to aesthetic poetry lies in the following aspects: primitive witchcraft already contains the historical and human genes of poetic aesthetics; the “Qi, Xiang, Dao” of the witchcraft have become one of the historical and humanistic roots of Chinese aesthetics. The “good or bad luck” judgment of primitive witchcraft is different in nature but the same in structure as that of poetry, which can prove the possibility of moving from the original witchcraft to aesthetic poetry.

Key words:

Chinese aesthetics,  localization,  primitive witchcraft,  poetic aesthetics