触遇:中国诗学感兴论的核心要素

Touch and Encounter: Kernel of Ganxing Theory in Chinese Poetics

中国诗学的创作论中"感兴"是核心的范畴,在很大程度上体现着中华美学的民族特色。在感兴中触遇是具体但又是关键的环节。触即"触物",是指主体与外物的直接感官(耳目等)接触,遇则是主体与客体双方的邂逅相遇的偶然性质。"触物以起情"是"感兴"论最为基本而又最为全面的内涵所在。"触物"的结果是"起情",也即对诗人审美情感的唤起,从而引发创作冲动。触遇并非仅是引发诗人的情感,而且还伴随着诗人以内在的语言创构诗的审美意象。触物兴情的感兴,揭示了诗歌杰作从创作动因到艺术表现的整体过程。触物而兴的情感是一种审美情感。审美情感是建构性的,是与审美冲动及语言构形一体化的。在触物感兴过程中,艺术媒介已经发挥着内在的作用。笔者提出,艺术媒介不仅是在艺术创作的外在物化阶段,而且是贯穿内在构思和外在传达的整体联结。诗人在触物感兴之时,就已经是用内在的艺术媒介来感受和把握"物色",从而获得以语言构形而获得的审美意象。

Ganxing is a core category in the creation theory of Chinese poetics which represents national features of Chinese aesthetics to a great extent. Touch and encounter are specific and key parts of Ganxing. ＂Touch ＂means direct sensorial touch through organs like ear and eyes with external objects; ＂encounter＂carries with occasionality when aesthetic subject encounters object. The way of touch objects and stirring up feelings is the most fundamental and comprehensive connotation of Ganxing theory,which not only arises poets＇ aesthetic emotion and creative impulse,but also shapes aesthetic images with inner language. It reveals the whole process from creative motives to artistic representation of poetic works. Touch and encounter arouse an aesthetic emotion which is constructive along with aesthetic impulse and linguistic formation. In this process, artistic media has an internal effect not only in materialization but also in ideation and representation. A poet automatically uses internal artistic media to get sense of objects when he / she touches and encounters,and then acquires aesthetic image by linguistic formation.