中国古代“境界论”索隐

INTERPRETATION OF "THE PICTURESQUE SCENE TOUCHED WITH EMOTION" IN ANCIENT CHINA

“境界” (意境 )包含着情与景 ,但绝不是一般的情景交融。“境界” (意境 )的审美特质主要有三 :一是因心造境的审美具象性 ;二是以形写神的审美表现性 ;三是以情动人的审美感染性。“境界” (意境 )的生成是“虚实相合” ,“虚实相合”的媒介有三种 :相似点、牵连点和相反点。“境界” (意境 )的审美效果是“境外有境”。林纾的“文境论”强调作者心境、修养对“文境”的决定作用是“扩前人所未发”。如果说“言志、缘情传统”是“境界论” (意境论 )的历史基础 ,“立象尽意说”、“无外之境说”、“因心生境说”是它的哲学基础 ,那么 ,人与自然的和谐关系则是“境界论” (意境论 )

The picturesque scene saturated with emotion' consists of both feeling and scene, but it is by no means a simple blending of the two. The special aesthetic nature of 'the picturesque scene saturated with emotion' has three features: 1. the beautiful imagery forged by the imagination; 2. the powerful expressiveness of the spiritual conveyed through the material; 3. the strong appeal to the emotion. The combination of imagination and reality creates 'the picturesque scene' and is in its turn made possible by three expedients: similar point, connecting point and contrastive point. The aesthetic result produced by ' the picturesque scene saturated with emotion' is that there is another scene beyond the obvious scene. Lin Shu's essay On Verbal Picture points out emphatically that the overwhelming effect the mood and insight of the author have on the verbal picture is that it extends into realms undiscovered by his predecessors. If the articulation of aspiration and the outlet of feelings can be regarded as the traditional basis for the aesthetics of 'the picturesque scene saturated with emotion', the embodiment of the spiritual in the imagery, the denial of the external scenery, and the belief in the mind as the source of all the picturesque can be seen as its philosophical basis. Thus the harmonious relationship between man and nature is its cultural basis.