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“象”与“兴”是中国传统美学两个古老独特、包孕丰富、具有重要发端意义的元范畴。“象”源于《易经》和《老子》,是中国道家美学幽深致远的基本范畴;“兴”源于《诗经》和《论语》,是中国儒家美学弘扬发展的基本范畴。中国美学的儒道互补关系集中体现在“象”与“兴”之间的关系及历史演变上。这两个元范畴的历史演变与审美融合,便是“兴象”这个关键性美学范畴的产生及其所标志的整个意象理论与意境理论的成熟。“象”与“兴”这两个元范畴及其相互关系实际构成中国美学范畴体系化研究的历史与逻辑的统一的起点,构成理解并掌握中国美学独特体系的一条基本线索。
“Elephant” and “Xing” are two ancient and unique meta-categories of Chinese traditional aesthetics, including richness and significance. “Xiang” originated from “The Book of Songs” and “Lao Tzu”. It is the basic category of Taoism aesthetics in China. Xing comes from The Book of Songs and The Analects. It is the basic category of Chinese Confucianism aesthetics development. The complementary relationship of Confucianism and Taoism in Chinese aesthetics is embodied in the relationship and historical evolution of “Xiang” and “Xing”. The historical evolution and aesthetic fusion of the two meta-categories are the emergence of the key aesthetic category of “Xing Xiang” and the maturity of the entire imagery theory and conception theory as marked by it. The two meta-categories of “Xiang” and “Xing” and their interrelation actually constitute the starting point for the unification of history and logic in the systematic study of the category of Chinese aesthetics, constituting a basic clue for understanding and mastering the unique system of Chinese aesthetics.