摘要
西方移情学说中的移情作用与中国古典诗词美学的移情入景,有着本质上的区别,因而所形成的艺术审美境界是不同的。西方移情说偏重人的感情外射,即"以我观物,故物皆着我之色彩。"中国诗学也有移情入景,但并不止于人情外射于物,它还有因人的"物化"而对物情有志的同感,即情与物同,心物交感,情境交融。移情入景本身还包含了融景入情,它体现了中国古代哲学家庄子"物我为一"的思想,是西方近代美学难以超越的境界。
There exists an essential difference between the Occidental empathy theory and the aesthetics of Chinese classical poetics, which might result in different aesthetic statures. The Occidental empathy theory overplays man's feeling projection as in the case: Everything in my eyes is marked by my emotivity. However, empathization to objects can also be found in Chinese poetry in that it does not content itself only with projection. It has an inclination to sympathize with the temperament of projected objects due to materialization; namely, the synaesthesis between sentiments and objects compatibly intermingled. The Modern Western Aesthetics can hardly transcend such a stature, which is never correspondent to Zhuangzi's ideology as 'Man and nature are in unison.'
出处
《广西师范学院学报（哲学社会科学版）》
2005年第2期87-90,共4页
Journal of Guangxi Teachers Education University：Philosophy and Social Sciences Edition
