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王夫之破除了前人情景现成和二分的痼疾,阐释了诗情和诗景的生成理论。诗情和诗景有两个层面的生成:一是在感性个体层面的生成,一是在当下审美情境中的生成。诗情在感性个体层面是“取之在己”的个性生成,是“情感须臾”的当下生成,其生成的最高境界是“通天下之忧乐”。诗景在感性个体层面有着不同的生成途径和生成层次。诗情和诗景在当下的审美情境中是共同生成、相互生成的。情景的生成带来了“妙合无垠”和“情景合一”的审美境界。王夫之的情景生成理论,对中国近代美学和现当代美学都产生了重要的影响。
Wang Fuzhi broke away from the chronic illness of predecessors’ situation and dichotomy, and explained the theory of the formation of poetry and poetry. Poetic and poetic landscapes are generated at two levels: one is the formation at the level of perceptual individual, and the other is the formation in the current aesthetic situation. Poetry in the emotional individual level is “taking advantage of one s ” personality generation, is “emotion ” “the immediate generation, the highest state of its generation is ” the world through the music “. Poetry King in the emotional individual level has a different generation and generation level. Poetry and poetry in the current aesthetic situation are co-generated, generated each other. The generation of scenes brings the aesthetic realm of ”Wonderful boundless “ and ”Scene combined ". Wang Fuzhi’s scenario generation theory has had an important influence on both modern and contemporary aesthetics in China.