论“兴”在魏晋审美实践中的语义转换

On the Semantic Transformation of Xing in the Aesthetic Practice in the Weijin Period

在中国审美批评史上,人们对"兴"的解释可谓众说纷纭,莫衷一是,之所以如此,一个非常重要的原因就是研究者往往都把"兴"看作是一个一成不变的东西。其实"兴"在魏晋及魏晋之前的涵义是不同的,在魏晋之前取的是"托起"之义,在魏晋之后则多取"情兴"之义。所谓"托起",也即"托事于物",以外物托起人事;所谓"情兴",即兴致、兴会,它主要表现为一种忽有感发、突与心会、兴高采烈、不可遏制的淋漓情致。"兴"在魏晋审美实践中的语义转换,与魏晋玄学对心性至善以及道德直觉功能的宣扬无疑有着极为密切的联系。

Many scholars have had controversial views on 'xing' in the history of Chinese aesthetic criticism and often tried to interpret 'xing' as a fixed concept.In fact,'xing' had different meanings in different periods.Before the Weijin Period,'xing' meant 'to support sb.with sth.' During the Weijing Period,'xing' meant 'sudden flash of inspiration',or 'strong emotion or excitement'.This semantic transformation was closely related to the advocacy of humanity and moral intuition by Weijing metaphysics.