中国印度古典诗学中“味”论之比较

A Comparison of the Taste Theories of the Classical Poetics Between China and India

从艺术本质上讲,中印两国“味”论从总体上看都属于艺术鉴赏论,都强调了艺术美感的重要性,强调了艺术要经得起玩味、寻味、品味,强调艺术要带给人美感享受。但中国“味”论更突出地强调了艺术的“味外之味”,即艺术美感的多层次性和广泛持久性。而印度“味”论则更强调艺术美感的普遍可传达性、可体味性。从艺术表达的内容和风格上看,两国“味”论都极其重视艺术情感的传达和表现。中国文学一向就有重情的传统,中国诗论也很注重情感传达的论述,而印度“味”论则更是以情为核心,对艺术表达之情进行了条分缕析的研究。但总的来说,印度“味”论更提倡“艳情味”,而中国“味”论则更强调“平淡味”、“冲淡味”。

From the angle of the artistic nature, both China and India＇s ＂taste＂ studies belong to those of the artistic appreciation as a whole, and they emphasize the importance of the artistic aesthetic sense. They also stress that arts can be savored, chewed and ruminated and can give people aesthetic pleasure. But China＇s ＂taste＂ study emphasizes more the ＂flavor beyond flavor＂ of arts, namely, the multiple levels of the aesthetic sense of arts and wide permanence. On the other hand, Indian ＂taste＂ study emphasizes more the popular transmissibility and apprehensibility. In view of the contents and styles of the artistic expression, the ＂taste＂ studies of both countries attach great importance to the transmission and expression of the artistic feelings. The Chinese literature has always had the tradition of attaching importance to the feelings, and so has its ＂taste＂ study. And Indian ＂taste＂ study has made a systematic study of the expressive feelings of arts with feelings as a core. But on the whole, Indian ＂taste＂ study stresses the ＂erotic flavor＂ while that of China emphasizes the ＂prosaic flavor＂.