意在言先,亦在言后——中国哲学美学感受、创造方式论

发布时间：2018-01-25 09:20

本文关键词： “意在言先亦在言后” 中国哲学美学感受创造方式　出处：《河北学刊》2016年03期 　论文类型：期刊论文

【摘要】：王夫之的"意在言先,亦在言后"说言明诗人在创作诗歌之前已在胸中生成意象,然后"窥意象而运斤"写下此诗,而此诗又作为观赏者涵咏的表象,在其胸中生成新的意象。也就是说,一个作品的意象创造并不是一次完成的,前后意象存在着差异,不同意象的心理构形、聚合也有分别。"意在言先,亦在言后"中的"亦"字说明,意象可能在"言先"涌现、生成,也可能只在"言后"才明晰、显现。这里的关键问题,一是心(胸中之竹)和手(手中之竹)可能相融相彰,也可能相违相离。心生意象,但可能"握手已违",手中之竹与心中之竹意象相离。但也可能相反,心中的意象并不明晰,但手"倏作变相",使心中之竹的非明晰意象明晰起来。二是"有意于画"还是"无意于画"。"有意于画"就是为画而画,这必然导致太矜于意,太趋于目的性,而"无意于画"则亦画非画,玩味于意,无目的反合于目的。三是如何"相得"、"相融",其实"初不知"。"相得"、"相融"即"我顺笔性,笔随我势",在"有意"(即"矜意")与"无意"(即"信笔")之间。此种境界只可遇,但不可求;"初不知",终也未必可知。这就是进入创作状态的酣醉迷狂,非理性反而能心手相合。
[Abstract]:Wang Fuzhi's "intention to speak first, but also after speech" said that the poet had already created images in his chest before he wrote poetry, and then wrote the poem "to peep at the image and carry the catty", and this poem was taken as the representation of the viewer Han Yong. In other words, the image creation of a work is not completed in one time, there are differences in the image before and after, the psychological configuration of different images, there are differences in the aggregation of the different images. The word "also" in the word "after the speech" shows that the image may emerge before the word "speak before", or it may be clear and manifest only after the word "after the speech". Here is the key question. One is that the heart (the bamboo in the chest) and the hand (the bamboo in the hand) may be in harmony with each other, or they may be different from each other. The mind may have an image, but it may "shake hands", and the bamboo in the hand may be different from the bamboo image in the heart. The image of the heart is not clear, but the hand "is a disguised form", which makes the image of bamboo in the heart clear. The other is "intentionally painting" or "not interested in painting". "intentional painting" is painting for the sake of painting. This will inevitably lead to too much meaning, too tend to the purpose, and "not in painting" painting is also non-painting, taste in mind, aimless instead of the purpose. Third, how to "get together", "harmony." In fact, "initial ignorance", "harmony", that is, "I follow the pen, pen with my power", between "intention" (that is, "meaning") and "unintentional" (that is, "letter pen"). This kind of state can only be met, but can not be sought; "initial ignorance", eventually may not be known. This is into the creative state of intoxication crazy, irrational but heart and hand.
【作者单位】：武汉大学哲学学院;
【分类号】：I01
【正文快照】： 百年来受到传入的西方哲学美学感受、创造方式的影响和训练,中国学术界对中国古代哲学美学之不同于西方的独特的感受、创造方式已越来越陌生,甚至完全迟钝了这种感受、创造方式。尤其值得深思的是,由于受到西方哲学思维方式,即本体论、认识论、存在论及逻各斯、范畴、概念等的

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