论民族艺术理论中形神观在先秦的生成

Generation of Form and Divinity Overview of National Art Theory in Pre-Qin Period

中华民族传统艺术理论中的"形"与"神"具有对立统一的辩证关系,形神观念对于艺术创作影响极大,是具有鲜明特色的民族艺术理论建构基石之一。这两个概念的提出和二者辩证关系的阐发是在我国先秦时期完成的。形,是指事物的外部形态,经过哲学阐释,带有了赋形和形变的含义,成为中国文化中的重要观念;神,最初指事物之灵,随着时代发展和社会进步,神道不断衰减,理性精神持续滋长,"神"渐渐变为了神志和精神,它也是中国传统人文思想中内涵深邃的观念。这两个概念最初是分列的,彼此之间最早产生聚合的内在逻辑是在老子思想里。管子、荀子和庄子都辨析了形神的辩证关系,尽管其侧重点都因他们相异的哲学倾向而不同。庄子首次阐述视觉艺术的形神关系和文学与音乐的言意关系,基本形成了较为完整的文艺形神观。先秦时代的形神思想是建立在长期积累的文艺创作实践基础之上的,这一时期形神兼具的作品和文艺形神观是后世中国艺术继续发展的基础。

Form refers to figurative exterior part and reshaping through a philosophical interpretation, and becomes an important concept in Chinese culture. Divinity refers to the mind and spirit of a thing. The two concepts were inde- pendent at an early time, and they began to be aggregated with an inner logic in Laozi＇ s thought. Guanzi, Xunzi, and Zhuangzi had also analyzed the dialectic relationship between form and divinity. Zhuangzi firstly expounded the relation between form and divinity in visual art, and relation between word and significance in literature and music, which basically formed a relatively complete literal overview of form and divinity.