論古代文藝學的主神重形傳統

Study on the Spirit Based and Form Valued Tradition of Ancient Literary Theory

本文針對學界關於古人"重神輕形"的傳統見解,提出古代文藝學的基本形神觀是"主神重形"。首先考察古代思想史上的形神論,認爲其中已貫穿着重神而不輕形的觀念,爲文藝學史上"主神重形"的形神關係學說奠基。其次分析東晉顧愷之及其後畫論家的主神重形論,强調其在文藝學史上主神重形論中的導夫先路作用。最後討論古代形神關係研究中的有關問題,提出一直都重形、形神不可分等觀點,並由此抉發出尚未被充分重視的古人"形神兼具"觀念下"真"的概念,藉以進一步說明"主神重形"纔是古代文藝學形神關係論的基調。

In the traditional academic view of "spirit superior to form",this paper puts forward that the basic concept of spirit and form in the ancient literary theory is "spirit based but also form valued".Firstly this paper examines the theory of form and spirit in ancient ideological history,and finds that the theory had already included the concept which emphasized spirit but not neglected form.Secondly,it analyzes the theory of "spirit based but also form valued" of Gu Kaizhi from Eastern Jin dynasty and the later painting theorists,and emphasizes their vanguard roles in the literary theory history.Lastly,this paper discusses the related questions of research on the ancient relationship between form and spirit,and advocates that form has always been emphasized,and that spirit and form are inseparable.