20 世纪 30—40 年代，宗白华、方东美开启中西比较美学，并以文化整体观为哲学视野作出论断：中国艺术是表现的、生命的、灵动的，西方艺术是再现的、数理的、静态的。这种“中西对着讲”的比较美学论断在美学理论上表现出二元对立的跨文化观念，在历史判断上违背中西艺术的历史事实。针对这一点，当在更深广的文化 - 艺术史视角下开拓“中西艺术参照讲”。所谓“对着讲”，就是宗白华和方东美共同表现的强化中西艺术的差异性、二元对立的讨论方式；所谓“参照讲”，是针对“对着讲”并致力于在差异性的中西艺术表现中发掘跨文化艺术表现的历史共同性和共通性的讨论方式。跨文化艺术比较，应该坚持两个共时目标，即同中求异、异中求同，由此，彰示中西艺术的“异中之同”。

比较美学, 中国艺术, 西方艺术, 宗白华, 方东美

In the 1930s and 1940s, Zong Baihua and Fang Dongmei opened the comparative aesthetics between China and the West, and used the concept of cultural holism as a philosophical vision to make the assertion that Chinese art is expressive, vital and dynamic, while Western art is reproducible, mathematical, and static. This kind of comparative aesthetics assertion of “East meets West” shows the cross-cultural concept of dichotomy in aesthetics theory, and contradicts the historical facts of Chinese and Western art in historical judgement. In response to this point, we can develop a “Chinese and Western art referencing” in a broader cultural-art historical perspective. “Speaking against” is what Zong Baihua and Fang Dongmei show together, reinforcing the differences between Chinese and Western art, the dichotomy, and the relative between Chinese and Western art. “Speaking with” is for “speaking against”, which is dedicated to the differences between Chinese and Western art. Cross-cultural art comparisons should adhere to two common goals: seeking differences in the midst of similarities, and seeking commonalities in the midst of differences. In this way, the “commonality in difference” of Chinese and Western art is demonstrated.

comparative aesthetics, Chinese art, Western art, Zong Baihua, Fang Dongmei