浙江社会科学

细研德国梅森瓷器对中华瓷器的仿制不难发现，仿制中发生的衍变隐秘地由中西不同美学追求所致。以中国折枝花卉在梅森临摹中遭际的调整为例可以发现，中国折枝花卉内蕴的是一种无我美学：将对自然进行艺术加工的痕迹降到最低限度，尽可能去除一切人为安置加工的痕迹；而欧式调整则表征出截然相反的美学追求：直接展现人对自然的介入和调整，以人为安置加工出的图像为美，审美中清清楚楚有一个进行创制或观赏的我在。无我美学邂逅有我美学不可避免出现冲撞，衍变是冲撞的必然结果。梅森因跨文化美学冲撞衍生出的洋葱图案获得了巨大成功表明，中西两种不同的美学追求可以在衍变对冲中产生积极的美学效果。

A closer look at the German Meissen's imitations of Chinese porcelain reveals that the offshoots emerging during the imitation process are insidiously caused by the different aesthetic pursuits of China and the West. Taking the adjustment of painting zhezhi flowers during the imitation process as an example, we can find that painting zhezhi flowers is embedded in an aesthetics of non-self, which has erased the traces of artistically polished processing of nature to a minimum degree that as if it's inartificially.On the contrary, as the manmade image being accepted as beauty, the European treatment by Meissen pursuits exactly the opposite. It's quite clear that there is a Self of mechanism or of appreciation at the core of the western aesthetics by displaying a directly man's intervention and adaptation in nature. As a result,the conflict is inevitable when the aesthetics of non-self meets the aesthetics of self, which is also destined to some offshoots. Derived from these conflicts between intercultural aesthetics, the great success of Meissen's onion pattern painting shows that positive aesthetic effects can be achieved through the opposition aesthetic pursuits of China and the West.