摘要
虚静是中国古代思想家非常重视的审美心理观念,其最高境界是“心斋”“坐忘”或“虚壹而静”。“心斋”“坐忘”通过斋戒般的心理修炼实现完全、彻底的“忘”,“虚壹而静”则强调兼知与专一,目的都是实现审美的超越。西方的移情说强调主体将情感移到客体身上,不管是通过想象、象征还是内模仿达成目的,情感的移植最为核心,成为审美超越的手段。心理距离的超越性表现在,审美主体与审美对象实现了有限度的一体,要求与审美对象的利害保持距离。中西审美心理都追求对功利或利害的超越,虽然手段存在差异,但目的一致,都是为了摆脱功利或利害对审美的阻碍,以期进入纯粹的审美境界。
Both Chinese and Western literary theories and aesthetics have proposed valuable concepts in aesthetic psychology,contributing to the diversity of global aesthetics."Void quietness"is an aesthetic psychological concept highly valued by ancient Chinese thinkers,with its pinnacle states being"fasting of the mind,""sitting in oblivion,"or"void quietness."Both Chinese and W estern aesthetic psychologies strive to transcend utilitarianism or self-interest.Despite method-ological differences,their objectives align:to remove the barriers of utilitarianism or vested in-terests from aesthetics,aspiring to enter a realm of pure aesthetics.
出处
《中国文学批评》
北大核心
2024年第3期82-93,190,共13页
Chinese Journal of Literary Criticism
基金
深圳大学卓越重大项目“现当代文学创作与批评视野中的中国古代文论研究”(ZYZD2306)阶段性成果。
