中国古典美学“兴象”范畴的生成

The Forming of the Category of “Xing Xiang” in Chinese Classical Aesthetics

"兴象"是中国古典美学的重要范畴。"兴象"之"兴"在原始宗教中孕育发展出超越性、现实指向性以及对情感之真和正的要求。至唐代,诗歌艺术的长足发展以及刚健蓬勃的盛唐气象促使作为美学概念的"兴象"产生,并赋予其独特的内涵:注重个体情感的真实抒发,更推崇个体在其生存境遇中昂扬向上的精神追求。明清理论家将"兴象"的使用范围不断扩大,使其成为贯穿于诗歌鉴赏论与创作论中的重要美学概念以及具有普遍性的美学准则。兴象标拔、兴象玲珑、兴象浑沦等对"兴象"的描述不但表明"兴象"所表达的审美趣味由刚健质实向清空一路扩容,变得多样化,也使其由一个抽象的概念演变为立体化的、具有丰富内涵的美学范畴。

＂Xing Xiang＂is an important category in Chinese classical aesthetics. Within primitive religion,the ＂Xing＂of ＂Xing Xiang＂conceived and developed transcendence,reality directivity and the requirements for realness and righteousness in feelings. In the Tang Dynasty,the aesthetic concept of ＂Xing Xiang＂was formed due to the sound development of poetry arts and the vigorous and prosperous social environment in the glorious period of the Tang Dynasty. A unique connotation was also attributed to＂Xing Xiang＂： authentic expression of individual＇s feelings is emphasized and the uplifting spiritual pursuit of individual in its living condition is praised highly. Theorists in the Ming and Qing Dynasties extended the use of ＂Xing Xiang＂,making it a crucial aesthetic concept,as well as a universal aesthetic principle throughout poetry appreciation and creation. Xing Xiang Biaoba,Xing Xiang Linglong,Xing Xiang Hunlun,as descriptions of ＂Xing Xiang＂,indicate two directions of the evolution of ＂Xing Xiang＂： firstly the aesthetic taste of ＂Xing Xiang＂changed from vigorous and plain to empty and other various forms; secondly,＂Xing Xiang＂,as an abstract concept,evolves to an aesthetic category which is tridimensional and rich.