摘要
受中国上古宗教特殊性的影响,中国古代审美意识具有不同于西方的内在机制和基本倾向,由此形成全性合生、流观合化、节文合序和明德合圣四种美的形态,亦可称为身象、物象、事象和性象。与此四象相对应,中国古代艺术逐渐发展出形神、意境、文质和兴象四大范畴,以统领中国古代艺术的整个范畴体系。形神与意境为虚象,具有超脱空灵的审美品味;文质和兴象为实象,包含较多的社会功利内容。由四象生成的四大艺术范畴是一个整体,它们相互关联和渗透,研究者可有所偏重但不能偏废;偏废不仅弃置其所欲舍,同时也将断送其所欲取。
With the influence of the special features of Ancient Chinese religion,ancient Chinese aesthetic consciousness contains an inner mechanism and a basic tendency which is different from those of Western aesthetics.Based on this inner mechanism,the four patterns of beauty are formed as He-xing of the eternal life,Liu-guan of the vivid nature,Jie-wen of the organised order and Ming-de of the noble state.They can also be named as the images of corporality,nature,society and dignity.Corresponding to the four patterns,the four categories of Xing-shen（body and spirit）,Yi-jing（mind and scene）,Wen-zhi（form and content） and Xing-xiang（emotion and subject） are gradually developed from ancient Chinese art,and support its whole system.Xing-shen and Yi-jing are Abstract images which are detached and intangible while Wen-zhi and Xing-xiang are concrete with more social and material contents.The four artistic categories as a whole are an integrity in which they are mutually connected and permeated.The researchers may lay particular stress on some of them,but are not supposed to abandon any.Or they will lose what intended to obtain.
出处
《烟台大学学报（哲学社会科学版）》
CSSCI
北大核心
2012年第2期36-39,共4页
Journal of Yantai University(Philosophy and Social Science Edition)
关键词
艺术范畴
形神
意境
文质
兴象
artistic category
Xing-shen
Yi-jing
Wen-zhi
Xing-xiang
