美学研究在新世纪的突破途径,在于其“创化”。所谓“创化”,在于立足于中国美学的丰富资源,从中国古典美学中汲取鲜活的思想,并以研究主体的独特视角出发进行建构。本文认为中国美学有其自己贯穿的、流变的体系性,即以某个范畴或命题为其核心,而历经数百年乃至千余年由许多人踵事增华,从而形成了一以贯之的基本范畴。中国美学有鲜明的体验性特征,但又不仅仅停步于直观感悟或体验的层面上,而是有着相当高的抽象程度。创化的一个基本方式,则是中西美学之间的互相阐释。也就是立足于中国美学,借助于西方的哲学和美学眼光进行理解与诠释。 The breakthrough way of aesthetics research in the new century lies in its “creation”. The so-called “Chuanghua” is based on the rich resources of Chinese aesthetics, draws fresh ideas from Chinese classical aesthetics, and constructs from the unique perspective of the research subject. This paper argues that Chinese aesthetics has its own pervasive and evolving systematicness, that is, taking a certain category or proposition as its core. After many centuries and even thousands of years, it has been followed by many people to create a consistent basic category. Chinese aesthetics has distinctive experiential features, but it does not stop at the level of intuition or experience, but has a rather high degree of abstraction. A basic way of creation is the mutual interpretation between Chinese and Western aesthetics. That is, based on Chinese aesthetics, with the aid of Western philosophy and aesthetic perspective for understanding and interpretation.