周来祥一生从事美学研究近60年，留下了宝贵的美学遗产。在《论美是和谐》一文中，首次提出“美是和谐”的完整论断:“我认为美是和谐，是人和自然、主体和客体、理性和感性、自由和必然、实践活动的合目的性和客观世界的规律性的和谐统一。”^[]周来祥自上世纪五十年代开始，投身美学研究。五十年代末六十年代初，在参加高教部组织的大学生《美学原理》教材编写的一次讨论会上，首次提出了“美是和谐”的观点，从此开启了“和谐美学”思想的构建。六十到七十年代，依托在实际教学和科研中的不断尝试和探索，周来祥“和谐美学”体系理论逐渐完善并发展成为一套理论体系。八十年代，随着相关的学术专著和论文的出版发表，其和谐美学体系逐步完成，该学术成果受到学界重视，“和谐美学”成为学术界公认的一个学术流派。九十年代，西方当代美学理论和现代艺术思潮大量进入中国，周来祥以积极的态度吸取了其中有益的思想成分，并引入到自己的思想体系中，使“和谐美学”内容更为完善。到了新世纪，“和谐美学”紧跟社会时代发展，从诸多现实问题入手，获得了新的发展。

本文主要从四个方面来阐述周来祥的和谐美学思想。

第一方面主要从选题缘由、研究现状综述以及研究价值展开。就其研究现状而言，学术界针对周来祥美学体系主要分为方法研究、理论内容研究和思想影响研究三大类别。就研究广度来说，目前学术界对周来祥美学思想本体研究、形成方法论研究、思想影响及价值等研究方面都有涉及，但就研究深度来说，尚有可探讨之处。尤其是在其思想的实践价值方面，立足当今实践，研究尚有余地可把握。一是把握其动态开放的和谐美理论体系和研究方法，了解其和谐美思想内涵。二是兼顾理论和实际，在其影响研究领域以期有所突破，在美育方向寻找契合点，强调其思想的实践价值，尤其是梳理出“和谐美”与“和谐”这一社会时代主题的内在关联。

第二方面是分析周来祥和谐美思想理论的形成基础。周来祥的美学体系横贯古今，中西并包，融汇吸收了各家有益的成果，是一个动态开放的理论体系。其次是对周来祥和谐美理论独特的研究方法进行分析和梳理，包括理论和实践相统一、逻辑和历史相统一以及借鉴现代自然科学的研究方法。基于思想内容上的推陈出新以及研究方法上的大胆革新等优势，周来祥的美学思想才能立足辩证思维，提出辩证和谐美的观点，形成完整的理论体系。

第三方面把握周来祥和谐美的思想内容。周来祥基于和谐美构成的不同质的形态与各异的量的组合和重叠，对和谐美的不同历史形态进行了详尽的分析和论述，提出了著名的美的三大形态理论：古典和谐美、近代崇高美和现代辩证和谐美。

第四方面对周来祥和谐美思想的实践价值进行思考。周来祥不断坚持发展和完善自己的美学体系，其和谐美学思想随着社会时代的变化而进一步发展。在此基础上，笔者以客观辩证的研究视角对其美学思想作出实践层面的关照和思考。主要涉及对其思想中“和谐人格”与审美教育的实践功能分析，另外是把握其与“和谐文化”“和谐社会”的同构关系，通过这些研究来进一步引起人们对其思想体系实践价值的重视和思考。

本文力图通过对周来祥和谐美思想体系进行梳理和阐释，了解和把握周来祥和谐美思想的独特研究方法、丰富思想内涵和伟大实践价值，从而进一步认识和发展其和谐美学思想。

Zhou Laixiang has been engaged in aesthetic research for nearly 60 years throughout his life, leaving behind a valuable aesthetic heritage. In the article "On aesthetics is harmony", a complete conclusion of "aesthetics is harmony" was put forward for the first time: "I think aesthetics is harmony, which is the harmonious unity of man and nature, subject and object, reason and sensibility, freedom and necessity, the purposiveness of practical activities and the regularity of the objective world." Zhou Laixiang has devoted himself to aesthetic research since the 1950s. In the late 1950s and early 1960s, at a seminar organized by the Ministry of Higher Education on the compilation of the textbook "Principles of Aesthetics" for college students, the viewpoint of "aesthetics is harmony" was first proposed, and from then on, the construction of the concept of "harmonious aesthetics" began. In the 1960s and 1970s, relying on continuous attempts and explorations in practical teaching and research, Zhou Laixiang's theory of "harmonious aesthetics" gradually improved and developed into a theoretical system. In the 1980s, with the publication of relevant academic monographs and papers, its harmonious aesthetic system gradually completed, and this academic achievement received attention from the academic community. "Harmonious aesthetics" became a recognized aesthetic academic school in the aesthetic academic community. In the 1990s, a large number of contemporary Western aesthetic theories and modern art trends were introduced to China. Zhou Laixiang absorbed beneficial ideological elements with a positive attitude and introduced them into his own ideological system, making the content of "harmonious aesthetics" more perfect. In the new century, "harmonious aesthetics" has closely followed the development of the social era, starting from many practical problems and achieving new development.

 

This article mainly elaborates on Zhou Laixiang's harmonious aesthetic ideas from four aspects.

 

The first aspect mainly focuses on the reasons for the topic selection, a review of the current research status, and the research value. In terms of its research status, the academic community mainly divides Zhou Laixiang's aesthetic ideas into three categories: methodological research, theoretical content research, and ideological influence research. In terms of research breadth, there are currently studies in the academic community on the ontology of Zhou Laixiang's aesthetic thought, the formation methodology, the influence and value of ideas, etc. However, in terms of research depth, there is still room for exploration. Especially in terms of the practical value of his ideas, based on current practice, there is still room for research to be grasped. In the research value section, one is to grasp its dynamic and open theoretical system and research methods of harmonious aesthetics to understand its ideological connotation of harmonious aesthetics. The second is to balance theory and practice, in order to make breakthroughs in the field of its impact research, find a suitable point in the direction of aesthetic education, emphasize the practical value of its ideas, and especially sort out the relationship between "harmonious aesthetics" and the theme of the social era of "harmony".

 

The second aspect is the elaboration of the theoretical foundation of Zhou Laixiang's harmonious aesthetics thought. Firstly, it is the grasp and inheritance of relevant ideological theories from ancient and modern times, both at home and abroad. Zhou Laixiang's aesthetic system spans across ancient and modern times, encompassing both China and the West, and integrating and absorbing the beneficial achievements of various schools. It is a dynamic and open theoretical system. Secondly, it analyzes and sorts out the unique research methods of Zhou Laixiang's theory of harmonious aesthetics, including the unity of theory and practice, the unity of logic and history, and the research methods influenced by modern natural sciences. Based on the advantages of promoting innovation in ideological content and bold innovation in research methods, Zhou Laixiang's aesthetic thought can be based on dialectical thinking and propose the viewpoint of dialectical harmony aesthetics, which has a profound impact.

 

The third aspect is to grasp the ideological content of Zhou Laixiang's harmonious aesthetics. Zhou Laixiang conducted a detailed analysis and discussion on the different historical forms of harmonious aesthetics based on the combination and overlap of different forms and quantities of harmonious aesthetics. He proposed three famous forms of aesthetics: classical harmonious aesthetics, modern noble aesthetics, and modern dialectical harmonious aesthetics.

 

The fourth party ponders on the practical value of Zhou Laixiang's idea of harmonious aesthetics. Zhou Laixiang constantly adheres to the development and improvement of his aesthetic system, and his harmonious aesthetic ideas have further developed with the changes of social times. On this basis, the author takes an objective and dialectical research perspective to provide practical consideration and reflection on his aesthetic ideas. It mainly involves the practical functional analysis of "harmonious personality" and aesthetic education in his thought, and also grasp the isomorphism and correlation with "harmonious culture" and "harmonious society", so as to further arouse people's attention and thinking on its practical value through these studies.

 

This article attempts to sort out and explain Zhou Laixiang's harmonious aesthetics thought, understand and grasp the unique research method, enrich the ideological connotation and great practical value of Zhou Laixiang's harmonious aesthetics thought, and further understand and develop his harmonious aesthetic thought.

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