相反相成 化境八章(四)

Complementation of the Opposites The Fourth of Eight Chapters of Perfection

作为对阴阳媾和这一中国文化生成机制的提炼,"相反相成"乃是"化境八章"的理论核心,"相反"规定生成机制里形象的差异性前提,"相成"则促成生成机制里的媾和结果;"相反相成"不但是中国艺术"形势"论的概括——"相反"是"形势"对"形"提出的差异性形象的前提,"相成"则是"形势"对"势"提出的异形媾和的期待;"相反相成"还是中国艺术"对仗"标准的展开——"对"要求"相反"的异象用以配"对","仗"要求异象媾和成相互仰仗的"相成"关系。对照于被西方建筑学"自明性"的标准,文章将从"相反相成"里提取"互成性"标准,并对计成《园冶》里的理论核心"因借"展开重点复述。

As arefinement of the Yin and Yang theory which has been the generating mechanism of Chinese culture, ＂Complementation of the Opposites＂ is the core of the ＂Eight Chapters difference of image prerequisite to the generating the outcome, ＂Complementation of the Opposites＂ not only summarizes the state of interaction of the opposite images in Chinese art, but also interprets Comparing with ＂self-evidence＂ in Western architectural aesthetics, the paper elaborates on the ＂state of complementation＂ and reviews in detail the key principle Of ＂making use of borrowed scenery＂in Ji Cheng＇s Yuan Ye（Craft of Gardengs）