第一章 中華美學(xué)精神的含義與淵源 ························ 1 一、中國(guó)文化想象：他者與自我之間·························· 1 二、中華美學(xué)精神與國(guó)家文化戰(zhàn)略····························· 9 三、從中國(guó)藝術(shù)精神看中華美學(xué)精神························· 15 四、在中華美學(xué)精神與中國(guó)藝術(shù)精神的交接處············· 22 五、中華美學(xué)精神的當(dāng)代傳承及其意義······················ 24 第二章　 中華美學(xué)精神與中國(guó)藝術(shù)精神的多元性 及現(xiàn)代轉(zhuǎn)化 ············································28 一、中華美學(xué)精神與中國(guó)藝術(shù)精神的多元性和當(dāng)代性····· 28 二、中國(guó)傳統(tǒng)文化資源的現(xiàn)代轉(zhuǎn)化···························· 33 三、紅色經(jīng)典與紅色文化資源的現(xiàn)代轉(zhuǎn)化··················· 41 第三章　 中西美學(xué)的交互影響 ································48 一、西方美學(xué)的早期傳播········································ 49 二、王國(guó)維對(duì)中國(guó)美學(xué)的發(fā)現(xiàn)·································· 66 三、 宗白華借助西方生命哲學(xué)對(duì)中國(guó)美學(xué)生命精神的 揭示···························································· 78 四、葉朗對(duì)中國(guó)美學(xué)意象本體論的建構(gòu)······················ 99 五、西方現(xiàn)代美學(xué)對(duì)中國(guó)美學(xué)的借用······················· 106 六、西方當(dāng)代美學(xué)與中國(guó)古典美學(xué)的相遇················· 110 第四章 中華藝術(shù)經(jīng)典的海外傳播 ·························125 一、《紅樓夢(mèng)》在海外的翻譯和傳播························· 126 二、“梁祝”母題的海外傳播和跨文化傳播················ 136 三、《茉莉花》的流傳形式與海外傳播······················ 149 第五章 當(dāng)代文學(xué)中的中華美學(xué)精神 ······················162 一、以“天人合一”追求人文精神的最高境界············ 163 二、以精神獨(dú)立而獲個(gè)體生命自由··························· 169 三、以和諧辯證法給予生命終極關(guān)懷························ 174 四、經(jīng)世濟(jì)民的擔(dān)當(dāng)之美與現(xiàn)實(shí)生活的美學(xué)批判·········180 第六章 當(dāng)代電影中的中華美學(xué)精神 ······················188 一、形與神：以形寫(xiě)神·········································· 188 二、隱與秀：隱在秀中·········································· 193 三、情與景：情景交融·········································· 199 四、虛與實(shí)：虛實(shí)相生·········································· 203 五、氣與韻：氣韻生動(dòng)········································· 208 六、儒與道：儒道合流·········································· 212 第七章 當(dāng)代美術(shù)中的中華美學(xué)精神 ······················216 一、全球化語(yǔ)境下的中國(guó)當(dāng)代美術(shù)與傳統(tǒng)·················· 216 二、中國(guó)當(dāng)代美術(shù)對(duì)傳統(tǒng)美術(shù)的承繼與發(fā)展··············· 218 第八章 當(dāng)代音樂(lè)中的中華美學(xué)精神 ······················243 一、先鋒音樂(lè)的幽遠(yuǎn)回響······································· 246 二、新詩(shī)雅韻的中國(guó)歌唱······································· 255 三、中國(guó)樂(lè)派的美學(xué)精神······································· 260 第九章 當(dāng)代創(chuàng)意設(shè)計(jì)中的中華美學(xué)精神 ················ 265 一、中國(guó)當(dāng)代設(shè)計(jì)的美學(xué)溯源································· 268 二、創(chuàng)意設(shè)計(jì)與商品價(jià)值······································· 276 三、中國(guó)當(dāng)代設(shè)計(jì)的創(chuàng)意之路································· 285 第十章 互聯(lián)網(wǎng)時(shí)代中華美學(xué)精神傳播的機(jī)遇與挑戰(zhàn) ··· 298 一、中華美學(xué)精神的主要載體是中國(guó)藝術(shù)·················· 299 二、互聯(lián)網(wǎng)時(shí)代傳播的基本特征······························ 300 三、技術(shù)演進(jìn)對(duì)藝術(shù)生產(chǎn)方式的影響························ 302 四、中華美學(xué)精神在互聯(lián)網(wǎng)時(shí)代傳播的機(jī)遇··············· 305 五、中華美學(xué)精神在互聯(lián)網(wǎng)時(shí)代傳播的挑戰(zhàn)··············· 306 六、中華美學(xué)精神在互聯(lián)網(wǎng)時(shí)代傳播的對(duì)策··············· 308 后　記 ····························································· 310