中古美学围绕着意境的立与破

发布时间：2018-02-28 18:39

本文关键词： 中古美学意境现象空观　出处：《浙江社会科学》2008年02期 　论文类型：期刊论文

【摘要】：以比兴为核心的诗歌原则及其组织规则决定了古代中国诗歌经验中人与自然互相亲和交感的基本性质。它构成了中国古代诗歌的主流审美经验。然而,诗歌史上后来曾经起来另一种特异的诗歌经验,它无本体、非假名,无比兴、非联想,色空不二分、情景非二致。它兮兮神秘,置中国古人的感性经验于纯净透明之境。这一诗歌经验之转型,它成功于唐代,而以往我们习焉不察,并不能真正把它与诗经、楚辞、古诗十九首以来的古诗传统从性质上加以厘别。显然,强大的主流读诗法则如比兴,如言志,如缘情,设障于通向此一新的诗歌经验之路。本文欲借道于纯粹认识论,以现象空观为基本范畴,对意境形成过程中所发生的诗歌经验之转型加以哲学美学之追问。
[Abstract]:The principle of poetry with Bixing as the core and its organizing rules determine the basic nature of the affinity between man and nature in the experience of ancient Chinese poetry, which constitutes the mainstream aesthetic experience of ancient Chinese poetry. Later in the history of poetry, another peculiar poetic experience arose. It had no ontology, no pseudonym, no unparalleled interest, no association, no color, no space, no two situations. It was very mysterious. Put the perceptual experience of the Chinese ancients in the pure and transparent territory. The transformation of this poetic experience, it succeeded in the Tang Dynasty, but we used to be insensitive, we can not really put it to the Book of songs, Chu ci, The tradition of ancient poetry since 19 has been distinguished by its nature. Obviously, the powerful mainstream rules of poetry reading, such as Bi Xing, such as ambition, such as fate, are set up to block the way to this new poetic experience. This article intends to use pure epistemology. Taking the concept of phenomenon and emptiness as the basic category, this paper probes into the transformation of poetic experience in the process of artistic conception formation.
【作者单位】：浙江大学传媒与国际文化学院
【分类号】：B83

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