“意境”作为中国诗学的核心范畴,是对中国文学审美特性的最高概括。“典型”则可说是西方诗学中关于人物形象及“性格”理论的核心范畴,在西方文论的现代转向之前,占有很重要的地位,并从积极与消极方面对我国现当代文论与批评也产生过极大影响。我国文论界许多学者,一般都是将这两个文艺学范畴当作等价的平行的范畴来看待的。李泽厚先生早在60年代初就较先提出了这样的观点:“诗画(特别是抒情诗、风景画)中的‘意境’,与小说戏剧中的‘典型环境中的典型性格’,是美学中平行相等的两个基本范畴……其基本内容却是相同的”。稍后,有的学者更明确主张:西方叙事性文学主要是塑造典型,因而在美学上相应地发展了典型的理论;而中国的文学主要是抒情性的,因而在美学上相应地注重艺术意境的理论。并以此来概括中西文学各自的基本精神及特征。不言而喻,在许多人心目中,意境与典型是可以互相等同的两个平衡范畴。 As the core category of Chinese poetics, “mood” is the highest generalization of the aesthetic characteristics of Chinese literature. The “typical” can be said to be the core category in the western poetics about the character image and “personality” theory. Before the modern turn of the Western literary theory, it occupies a very important position. From the positive and negative aspects, And criticism also had a huge impact. Many scholars in our literary theory generally regard these two categories of literary studies as equivalent parallel categories. As early as the early 1960s, Mr. Li Zehou put forward the view that the “artistic conception” in poetry and painting (especially in lyric poetry and landscape painting) and the “typical character in a typical environment” in fictional drama are aesthetics The two basic categories of equality in the parallel ... its basic content is the same. " Later, some scholars even more clearly argued that the Western narrative literature is mainly to create a typical, thus correspondingly developed a typical theory in aesthetics; while Chinese literature is mainly lyric, thus aesthetically corresponding to artistic conception Theory. And to sum up the basic spirit and characteristics of Chinese and Western literature. Needless to say, in many people’s minds, moods and typicals are two balance categories that can be identical to each other.