气韵与移情——中日现代美学史的一个议题

Spirit Resonance and Empathy:A Topic in the History of Modern Chinese and Japanese Aesthetics

“气韵”是中国古代画论中的核心概念,“移情”是西方现代美学中的重要学说。明治以来的日本学者于东西学术都作了深入钻研,在这一大语境下,产生了将“气韵”与“移情”相沟通的思想。伊势专一郎和园赖三为其发端,分别代表求同、辨异两路。其后,金原省吾、大西克礼等延续了这一议题。此类比较对不少留日学人产生了深刻的影响。中国学者或者承袭其说,或者另有发明。滕固、马采、丰子恺等以编译和介绍为主,邓以蛰、徐复观则多有独得之见。唯一确定不受日人影响而对该议题有所贡献的中国美学家当属宗白华。要对中国学者的成就作出恰切的评估,就必须具备东亚视角。气韵与移情之关系这一议题应当放在一组问题矩阵中看待,学者们的分歧与在其他基本问题上的差异密切相关。

“Qiyun”(Spirit resonance)is a key concept in ancient Chinese painting theory,and empathy is an important conceptualization in Western modern aesthetics.During the Meiji and Taisho eras,Japanese scholars delved into both the eastern and western aesthetics,and tried to compare and connect“spirit resonance”and empathy.Ise Senichirōand Sono Raiz8 were among the first to attempt to find the similarities and dissimilarities respectively,while Kinbara Seigo and Oonishi Yoshinori further elaborated on this issue.The approach of Japanese scholars inserted deep impact upon Chinese scholars studying in Japan.They generally followed Japanese approach,and among them,Teng Gu,Ma Cai and Feng Zikai primarily introduced and translated the research,while Deng Yizhe and Xu Fuguan had developed and expressed their own understanding.Zong Baihua was perhaps one of the few who were not influenced by the Japanese approach and made significant contributions in the field.To do justice to Chinese scholarship on the relationship between spiritual resonance and empathy,it is essential to put it into perspectives that includes an East Asian one.