作为气化美学批评的气韵及其跨文化意义

Qiyun as Qihua Aesthetic Criticism and Its Cross-Cultural Significance

气化宇宙论对中国古代文艺影响至深,中国古代文艺创作以呈现生命的生生不息为目的,形成气化美学。"气韵"生发于气化美学的深厚传统中,与其他气化美学批评术语构成了气化美学批评体系,并成为气化美学批评体系的枢纽。本文以"气韵"为中心,以"山水画"为中介,将"气韵"的内涵演变放在气化美学的脉络中进行探讨,揭橥"气化"宇宙论对中国美学批评的影响,进而阐发以"气韵"为枢纽的气化美学批评体系的特质和意义。以气化论为思维根基的气化美学批评的范畴,以"气化"看待万物,万物呈构自身之美,包含天道或自然内在的生命活力。"气韵"一词不仅在引进西方理论的过程中进行了创新性演绎,成为沟通中西文艺理论的关键词;而且西方学者也试图以"气韵"为核心搭建中国文化与西方文化之间的桥梁,并以此开拓西方美学的未思之域。

Classical Chinese literature and arts were deeply influenced by the theory of qihua cosmology.With the purpose of presenting the continuous reproduction of life(shengsheng buxi),the works formed the qihua aesthetics.The term qiyun was born in the profound tradition of qihuaaesthetics.Together with other qihuaaesthetic critical terms,it constitutes the qihua aesthetic criticism system and becomes its pivotal concept.This paper explores the evolution of the connotation of qiyunin the context of qihua aesthetics,centering on qiyun and using landscape painting as an intermediary,and reveals the influence of qihua cosmology on Chinese aesthetic criticism.It further discusses the characteristics and significance of the qihua system of aesthetic criticism with qiyunas its pivot.The scope of this criticism,which is based on the theory of qihua,views all things in terms of this pivotal concept.Viewed from such a perspective,all things present their own beauty,which contains the inherent vitality of heaven or nature.The termqiyun has not only been innovatively interpreted in the process of introducing Western theories,but has also become a key word for bridging Chinese and Western literary theories;Western scholars have also tried to build a bridge between Chinese and Western cultures with qiyunas the key term,in order to explore the unchartered territories in Western aesthetics.