“无我之境”:审美静观的极致 “无我之境”,是近代王国维在《人间词话》中提出的诗歌美学命题。“有有我之境,有无我之境。‘泪眼问花花不语,乱红飞过秋千去。’‘可堪孤馆闭春寒,杜鹃声里斜阳暮。’有我之境也。‘采菊东篱下,悠然见南山。’‘寒波澹澹起,白鸟悠悠下。’无我之境也。有我之境。以我观物,故物皆著我之色彩;无我之境,以物观物,故不知何者为我,何者为物。”我以为这段话的理论意义极为深刻,它实际上已对我国诗史上源远流长的两种审美模式(以屈原、李杜为代表的审美进取与陶潜、王孟为代表的审美静观)的极致境界,作了相当精辟的揭示,只是没有使用精确的理论概念,加之个别例证不准,致使这对具有深刻美学意义的 The Realm of Immersiveness: The Ultimate Mystical Realm of Quietness, is the poetic aesthetics proposition put forward by Wang Guowei in “The Human World”. “There is a realm of my presence, my presence or absence.” Tears asked to spend no words, messy red flying over the swing to go. Picking Chrysanthemum East, leisurely see Nanshan. ’’ Cold wave 澹 澹, start, white bird long down. ’There is no my environment also. I have the environment. So I do not know who is what and what is it. "I think this passage is of profound theoretical significance. It actually has two kinds of aesthetic modes that have a long history in the history of Chinese poetry The representative of the aesthetic progress and Tao Qian, Wang Meng as the representative of the aesthetic perspective) made a very revealing, but did not use the precise theoretical concepts, combined with the individual illustrations are not allowed, resulting in a profound aesthetic significance