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黑格尔美学给中国美学和艺术史研究提供了一个模板,尤其是他关于象征、古典、浪漫三种艺术形态的发展演变的论述,启发了中国现代美学和艺术史研究。在中国艺术的发展进程中,我们可以看到与黑格尔理论相吻合的地方,比如在同一种艺术门类内部,基本上遵循黑格尔所揭示的由空间向时间发展的规律。但是,黑格尔的理论无法解释中国艺术史上由一种艺术门类向另一种艺术门类的发展,它遵循的是由时间向空间发展的规律,从而颠倒了黑格尔的理论。当我们将黑格尔与颠倒的黑格尔结合起来,处理好它们之间的关系,就能够更好地揭示中国艺术史的复杂性和独特性。
Hegel’s aesthetics provides a template for the study of Chinese aesthetics and art history, especially his exposition on the development and evolution of the three artistic forms of symbolism, classicality and romance, which inspired the study of Chinese modern aesthetics and art history. In the course of the development of Chinese art, we can see that the places that coincide with the Hegelian theory, such as the one within the same art category, basically follow the law of space-time development as revealed by Hegel. However, Hegel’s theory can not explain the development of one art genre in the history of Chinese art to another art genre, which follows the law of time-space development and thus reverses Hegel’s theory. When we combine Hegel with the upside-down Hegel and handle the relations between them, we can better reveal the complexity and uniqueness of Chinese art history.