一、如何在江南美学/中国美学的合一中呈现江南美学这里“兴起”一词不是说江南美学在东晋宋齐梁陈以后才有,而是指这时的江南美学,不像之前的良渚文化、吴越文化、楚文化,乃至三国时的东吴文化,不断变化,甚不确定,而有了基本的格局和特征,更为主要的是,它成为了中国的美学主流。正因如此,历来对东晋南朝美学的呈现,都被上接先秦两汉三国西晋,成为了宏观上的中国美学,其江南美学的特征,反而被这一宏观叙述所遮蔽了。从江南美学能够堂堂正正地往上相接,可 First, how Jiangnan Aesthetics is presented in Jiangnan aesthetics / Chinese aesthetics here? The phrase “rise” is not to say that Jiangnan aesthetics did not exist until later in the Eastern Jin and Song Dynasties. Instead, Jiangnan aesthetics at this time was not as good as before The changes of the Soochow culture of the Zhuzhu Culture, Wuyue Culture, Chu Culture and even the Three Kingdoms are constantly changing and uncertain. However, with the basic pattern and characteristics, and more importantly, it has become the mainstream of China’s aesthetics. It is for this reason that the appearance of aesthetics in the Eastern Jin and Southern Dynasties has always been followed by the Western Jin and Jin dynasties before the Qin, Han, and Han dynasties became the macroscopic Chinese aesthetics. The characteristics of Jiangnan aesthetics were instead obscured by this macro narration. Jiangnan aesthetics can be upright and upright, but