文学艺术创作中的“神思”与审美构形

“Spiritual thought”and aesthetic formation in literary and artistic creation

"神思"是中国古代美学的一个重要范畴,最为系统地论述在刘勰《文心雕龙》的创作论首篇《神思》之中,其他艺术理论中也有相关的一些论述。"神思"是关于艺术创作思维的核心范畴,包含着审美感兴、艺术构思、创作灵感、意象生成等环节,是对艺术创作思维的动态的整体地表述。审美构形是艺术创作在内在思维阶段的最后一个重要环节,却是罕有学者探寻的一个话题。从对"神思"的内涵来看,构形应该是包括在"神思"之中的,而且也是"神思"产物。无论是造型艺术,抑或如诗(文学)这样的语言艺术,构形都是不可缺少的环节。构形是凭借着媒介的内化形态的,艺术家是以内在的媒介来进行构形的。构形是创造性和个性化的,这也是"神思"作为艺术思维整体的体现。

Spiritual thought is a key category in Chinese ancient aesthetics, which is systematically discussed in Spiritual Thought, the first article in The Dragon Carved in the Heart of Literature written by Liu Xie, and some other theories of art. Spiritual thought as core category of artistic creation mind includes aesthetic contemplation, artistic formation, creative inspiration and image generation, which is a dynamic and integral expression of artistic creation mind. Aesthetic formation is the last stage of inner thinking in artistic creation, but rarely discussed. As for the connotation of spiritual thought, formation is a part of spiritual thought as well as its product. Formation is essential not only for plastic arts but also for language arts like poetry. Formation lies in internalization of media, which is widely used by artists. Formation is creative and personalized, which is an integral reflection of spiritual thought as artistic thought.