心物交感—文艺本体论——刘纲纪《周易美学》述评

发布时间：2018-10-19 09:02

【摘要】：正中国古代有没有关于对文艺本体终极存在的认识,过去学界似少发见.刘纲纪早在《中国美学史》第二卷“东晋佛学与美学”、“刘勰的《文心雕龙》”这两章中就深入探讨过这个问题,富有创见地提出了中国古代文艺本体论的核旨是“情物交感”的观点,在《周易美学》中,著者则对“心物交感”(即“情物交感”)作了更深入地阐发.著者认为,中国美学始终是以心物交感而产生的情感表现来说明艺术的发生与本质的.交感论是中国美学对审美与艺术创造中主体与客体(对象)关系的解决.而中国美学的交感论的理论基础最初是由《周易》奠定的.《周易》中不仅有一个和“感”直接相关的“咸”卦(“感,咸也.柔上而刚下,二气感应以相与,止而说.”),而且还有十一、二处谈到“感”的问题.其意可归纳为几点:(1)“感”虽为“感应”,但又非单方面的被动接受,而是两个事物之间交互作用的结果,即所谓相“交”
[Abstract]:In ancient China, there was no understanding of the ultimate existence of literature and art Noumenon. Liu Gangji discussed this issue in the second volume of the History of Chinese Aesthetics, Buddhist Studies and Aesthetics in the Eastern Jin Dynasty, and Liu Xie's Wen Xin Diao long, in both chapters. In the Book of changes Aesthetics, the author makes a deeper analysis of the "feelings and objects sympathetic". The author thinks that Chinese aesthetics always explains the occurrence and essence of art by the emotional expression produced by the sympathetic feeling of heart and substance. Sympathetic theory is the solution of the relationship between subject and object in aesthetic and artistic creation in Chinese aesthetics. However, the theoretical basis of the sympathetic theory of Chinese aesthetics was initially laid down by the Book of changes. There is not only one "salty" hexagram ("feeling," which is directly related to "feeling" in the Book of changes). Soften up and just down, the two senses with each other, "), and there are eleven, two talk about the" feeling. " The meaning can be summed up as follows: (1) although "feeling" is "induction", it is not a unilateral passive acceptance, but the result of interaction between two things, that is, the so-called "intersection".
【作者单位】：武汉大学哲学系
【分类号】：B83-09

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