中古美学围绕着意境的立与破

The Establishment and Demolishment of Meaning-atmosphere in Mediaeval Times' Aesthetics

以比兴为核心的诗歌原则及其组织规则决定了古代中国诗歌经验中人与自然互相亲和交感的基本性质。它构成了中国古代诗歌的主流审美经验。然而,诗歌史上后来曾经起来另一种特异的诗歌经验,它无本体、非假名,无比兴、非联想,色空不二分、情景非二致。它兮兮神秘,置中国古人的感性经验于纯净透明之境。这一诗歌经验之转型,它成功于唐代,而以往我们习焉不察,并不能真正把它与诗经、楚辞、古诗十九首以来的古诗传统从性质上加以厘别。显然,强大的主流读诗法则如比兴,如言志,如缘情,设障于通向此一新的诗歌经验之路。本文欲借道于纯粹认识论,以现象空观为基本范畴,对意境形成过程中所发生的诗歌经验之转型加以哲学美学之追问。

As the central principle of poem organizing,Bi-xing decided the character that people would hobnob with the nature in ancient Chinese poem experience.So Bi-xing made of the primary aesthetic experience of ancient Chinese poems.However,there had ever been another differential poem experience,which didn't have any reality,anonym,Bi-xing and association,and didn't differentiate color and vacancy,or emotion and scene.Being very mysterious,it made ancient Chinese aesthetic experience pure and transparent.This conversion of poem experience was successful in Tang Dynasty.We always neglect the fact and can't differentiate its character from the ancient poem tradition.Apparently,the powerful primary poem-reading principle,such as Bi-xing,telling out one's ideal and expressing one's emotion,obstructed the new poem experience.Recurring to pure epistemology,and using phenomenological intuition as a basic category,this essay questions the conversion of poem experience in the process of how meaning-atmosphere came into being closely.