船山诗学“远近之间”论的美学阐释

Aesthetic Interpretation of the Theory of“the Distant and Near”in the Poetics of Chuanshan

“以神理相取,在远近之间”是王夫之提出的著名美学公式,船山诗学中一系列理论思想围绕此形成了关涉审美距离问题的“远近之间”论。“远近之间”具有从时间、空间距离发展而来的心理距离内涵,是审美活动中必须遵循的距离原则。“万物之情统于合”解决了距离的内在矛盾,实现了审美主客体的统一。“情中景”是对“距离极限”的挑战,天才诗人由此达到距离的理想境界。船山诗学“远近之间”论汲取了前人的相关论述,说明了审美的经验特性,丰富并发展了中国古代文艺心理学思想。

“Shenli is taken from the distant and near”is the famous aesthetics formula put forward by Wang Fuzhi,and a series of theoretical thoughts in Chuanshan poetics form“the distant and near”theory concerning aesthetic distance.“The distant and near”has the connotation of psychological distance developed from time and space distance,which is the distance principle that must be followed in aesthetic activities.“Unity of all things”solves the inner contradiction of distance and realizes the unity of aesthetic subject and object.“Scene in the emotion”is a challenge to the“distance limit”,from which talented poets reach the ideal state of distance.“The distant and near”theory of Chuanshan poetics draws on the related discussions of predecessors,explains the experience characteristics of aesthetics,and enriches and develops the thoughts of ancient Chinese literary psychology.