美学散步

　　宗先生一生著述不多，而《美学散步》则几乎汇集了其一生最精要的美学篇章，也是先生生前唯一的一部美不著作。初版于1981年，此次重版，除新增若干照片、校正部分错字外，基本保持原貌。对于这样一位源生于传统文化、洋溢着艺术灵性和诗情、深得中国美学精魂的大师以及他散步时低低的脚步声，在日益强大的现代化的机器轰鸣声中，也许再也难以再现了。然而，如何在愈益紧张的异化世界里，保持住人间的诗意和生命的憧憬，不正是现代人所要关注的一个世界性问题吗？而《美学散步》正好能给我们以这方面的启迪。

　　宗白华，江苏常熟人。1918年毕业于上海同济大学语言科。 1920-1925年留学德国，先后在法兰克福大学和柏 林大学学习哲学和美学。1949-1952年任南京大学教授。之后一直任北京大学哲学系教授，兼中华全国美学学会 顾问。

美学散步·······························1
小言·······························1
诗（文学）和画的分界·······························2
美从何处寻·······························14
论文艺的空灵与充实·······························23
一、空灵·······························25
二、充实·······························28

中国美学史中重要问题的初步探索·······························31
一、引言――中国美学史的特点和学习方法·······························31
二、先秦工艺美术和古代哲学文学中所表现的美学思想······························33
三、中国古代的绘画美学思想·······························48
四、中国古代的音乐美学思想·······························57
五、中国园林建筑艺术所表现的美学思想·······························62

中国艺术意境之诞生·······························68
引言·······························68
一、 意境的意义·······························69
二、意境与山水·······························72
三、 境创造与人格涵养·······························73
四、 禅境的表现·······························74
五、 道、舞、空白：中国艺术意境的结构的特点·······························77
中国艺术表现里的虚和实·······························89
中国诗话中所表现的空间意识·······························136
论中西画法的渊源与基础·······························119
中西画法所表现的空间意识·······························136
介绍两本关于中国画学的书并论中国的绘画·······························146
略谈敦煌艺术的意义与价值·······························153
论素描·······························157
中国书法里的美学思想·······························160
一、 用笔·······························167
二、结构·······························171
三、章法·······························184
中国古代的音乐寓言与音乐思想·······························189
论《世说新语》和晋人的美（附：清谈与析理）·······························208

希腊哲学家的艺术理论·······························231
一、 形式与表现·······························231
二、原始美与艺术创造·······························232
三、艺术家在社会上的地位·······························233
四、中庸与净化·······························235
五、 术与模仿自然·······························237
六、 艺术与艺术家·······························240
康德美学思想评述·······························242
看了罗丹雕刻以后·······························268

形与影
——罗丹作品学习札记·······························276
我和诗·······························279
新诗略谈·······························287
唐人诗歌中所表现的民族精神·······························290
一、 文学与民族的关系·······························290
二、唐代诗坛的特质与其时代背景·······························291
三、初唐时期――民族诗歌的萌芽·······························293
四、盛唐时期――民族诗歌的成熟·······························296
五、 族诗歌的结晶――出塞曲·······························303
六、 尾语――唐代的没落与没落的诗人·······························309

后记·······························314