法國的中國哲學－－在美學與藝術的視野下

Chinese Philosophy in France through Aesthetics and the Arts

本文主旨在於探討兩位重要的法籍華裔學者，法蘭西學院院士程抱一(François Cheng, 1929- )和二十世紀60年代即被法國藝評家譽為最具潛力的藝術家熊秉明(Hsiung Ping-ming, 1922-2002)，對中國美學和藝術理論在西方哲學語脈下的論述、影響和發展，尤其是廣大讀者如何以閱讀中國美學或藝術理論作為理解中國思想的路徑。首先，本文指出程抱一在西方的主要貢獻，借重西方語言哲學、結構主義、精神分析等理論，解釋中國詩與畫的哲學含義，引起西方讀者對中國藝術、文化與思想的看重。本文並顯出程抱一和法語漢學家如François Jullien（于連）、Jean-François Billeter（畢來德）、Jean-Marie Simonet等的論述不同與共同之處。其次，本文指出熊秉明對引介中國哲學思想的主要貢獻，在於他不僅著重抽象的美學思考，同時更強調中國文人把藝術的實踐也視為是一種道德實踐的文化哲學特質。這點，與之前或當時的美學理論家，如王國維、朱光潛、宗白華、李澤厚等人，沿襲西方區分美學與藝術實踐的思想，作為思考中國藝術與美學的方法，截然不同。

his paper will first show how Chinese philosophy was discovered by a very large audience in France via aesthetics, through the best-known works of a diasporic Chinese figure, François Cheng, and then how Chinese philosophy was put into practice in France by another diasporic Chinese figure, Hsiung Ping-ming. The paper will explicate the role of aesthetics and the arts relative to philosophy. It will analyze different types of methodologies with reference to the Western path chosen by François Cheng, one nevertheless different from that of Western scholars, and to the Chinese path chosen by Hsiung Ping-ming, which remains specific to the latter, compared to that of other Chinese scholars.