重谈中国美学意境之诞生

Re-discuss the Naissance of Artistic Conception of Chinese Classical Aesthetics

意境作为中国古典美学的核心范畴,它高度凝结了中国人的哲学智慧和艺术经验。道家的本无之论和佛禅的空观是意境诞生的哲学前提,这种空无之论的“向内转”则是意境生成的直接原因。就意象与意境的关系而言,易学一脉的意象是一个认识论或物性论的范畴,它不但与美学层面的意象存在距离,而且不具有向意境过渡的可能性。美学层面的意象源于道家,尤其是庄子;从意象向意境的过渡则靠了佛教和禅宗的助力。

As a core category of Chinese classical aesthetics, artistic conception highly cemented Chinese historical experiences and philosophical wisdoms. The Nothingness ideology of Taoist and Chan is a philosophical premise of artistic conception＇ s naissance, and this kind of philosophy＇ s turning to the mental is the direct cause of artistic conception＇s being created. In the view of the relationship between imago and artistic conception, the imago is a category belonging to epistemology or physics in the tradition of Zhouyi, which is not only far from the artistic conception in aesthetic level, but also has not possibility transiting to artistic conception. The imago in aesthetic level takes root from Taoist, especially Zhuangzhou, and its transition to artistic conception relies on the help of Buddhism or the Chan.