康德《判断力批判》中的美学可从两种形而上学之间的“桥梁”提升为第三种形而上学，即审美的形而上学，它才是前两种形而上学的根。这原本也是康德文本中可能隐含的意思，他对形而上学的理解只是西方传统的“物理学之后”和“存在论”，审美在这种意义上只能是“桥梁”，但审美形而上学是超越存在论的“语言学之后”，它从诗性和隐喻结构来看待语言的本质，并为“自然形而上学”和“道德形而上学”之所以可能提供根据。伽达默尔的哲学诠释学按照黑格尔的思路将康德美学引上了一种动态的诠释学本体论，虽然完成了一次“语言学转向”，但由于受到传统本体论和方法论的局限，仍然未能上升到“语言学之后”的视野。这种非存在论的或超存在论的形而上学只有在中国传统形而上学即“伦理学之后”中才找到了支持，但后者由于中国哲学的“反语言学倾向”而同样未能提升到“语言学之后”。第三形而上学则是经过对西方“物理学之后”和中国“伦理学之后”加以综合而超越双方之上所提出的一种更具普遍性的形而上学设想。

《判断力批判》, 自然形而上学, 道德形而上学, 物理学之后, 伦理学之后, 语言学之后

The aesthetics in Kant’s Critique of Judgment can be elevated from being a “bridge” between two metaphysics to the third metaphysics, namely, the metaphysics of aesthetics, which is the root of the first two metaphysics. This was originally a possible implicit meaning in Kant’s text, but his understanding of metaphysics was confined to the Western traditions of “post-physics” and “ontology”, where aesthetics could only serve as a “bridge” in this sense. However, aesthetic metaphysics transcends ontology as “post-linguistics”, viewing the essence of language from poetic and metaphorical structures, and providing the foundation for the possibility of “natural metaphysics” and “moral metaphysics”. Gadamer’s philosophical hermeneutics, following Hegel’s line of thought, leads Kantian aesthetics to a dynamic hermeneutic ontology. Although it completes a “linguistic turn”, it remains confined by the limitations of traditional ontology and methodology and fails to ascend to the horizon beyond linguistics. The third metaphysics is a more universal and transcendent metaphysical conception proposed through the synthesis and transcendence of both Western post-physics and Chinese post-ethics.

Critique of Judgment, natural metaphysics, moral metaphysics, post-physics, post-ethics, post-linguistics