审美主体:感兴论的价值生成前提

发布时间：2018-11-14 12:15

【摘要】：在中国古典美学感兴论的研究中,阐述者大多对感兴论中所包含的重视外物触发作用的内涵格外关注。作为中国古代艺术创作机制的主导理论,感兴论的确是以感物和偶然为基本内涵,感兴就是审美主客体偶然遇合的创作冲动,是艺术精品得以产生的重要契机。然而,感兴论的全部内涵不止于此,在其完整的理论框架中,创作者的胸襟品格和艺术禀赋是至关重要的主体条件。关于审美主体的丰富阐述亦是中国古典感兴论中不可忽视的理论内容。审美感兴不仅发生于创作之始,而且贯穿于作品物化之前的整个创作过程,尤其是在艺术构形阶段,它是形成主体内在视像的重要审美情感。中国古典美学中关于审美主体的胸襟、性情、学养、敏悟等方面的理论论述都与感兴论有着根本的内在联系,是建构完整的审美感兴论所不容忽视的理论资源。
[Abstract]:In the study of the theory of interest in Chinese classical aesthetics, most of the exhibitors pay special attention to the connotation of attaching importance to the trigger function of external objects. As the leading theory of Chinese ancient art creation mechanism, the theory of sense of interest is really based on feeling objects and chance. Feeling interest is the creative impulse of the subject and object of aesthetics, and it is an important opportunity for the creation of fine works of art. However, the whole connotation of the theory of interest does not end there. In its complete theoretical framework, the creator's character of mind and artistic endowment are the most important subject conditions. The rich exposition of aesthetic subject is also the theoretical content which can not be ignored in the theory of Chinese classical sense of interest. Aesthetic feeling not only occurs at the beginning of creation, but also runs through the whole creation process before the materialization of the work, especially in the artistic configuration stage. It is an important aesthetic emotion to form the subject's internal visual image. The theoretical exposition of aesthetic subject in Chinese classical aesthetics, such as mind, temperament, learning, sensitivity and so on, has a fundamental internal relation with the theory of sense of interest, and is a theoretical resource which can not be ignored in constructing a complete theory of aesthetic feeling.
【作者单位】：中国传媒大学艺术研究院;加州大学圣芭芭拉分校东亚系;
【分类号】：B83

【共引文献】