趣味与德性:动物审美之内在张力——以鹦鹉赋为中心

Interest and Virtue Based on the Internal Tension in the Aesthetics of Animals:the Case Study of Fu Works on Parrots

辞赋乃古代鹦鹉审美研究之理想文本。中国古代鹦鹉审美趣味与视野奠基于汉,极盛于魏晋,深化于唐宋,其后继承而已。中国古代鹦鹉审美沿三端——鸟形、鸟性与鸟命运展开。先赏其美丽和丰富的毛色,次赏其卓越的人言摹仿能力,最后则以同情之心关注其遭人捕猎、囚禁的命运,呈现为中国古代动物审美意识的基本结构。中国古代鹦鹉审美经验既包括审美趣味,亦具备环境伦理。其鸟性欣赏中以鹦鹉比德之习存在浓厚的人类中心主义之迹,对鹦鹉被驯化命运的同情式关注则代表了中国古代动物审美之最高境界。作为自然审美对象的鹦鹉并非纯野生物,乃是经人类驯化的“人化自然”。历代鹦鹉赋关于鹦鹉的伦理意识中存在着悖论作者们一方面意识到人类驯化鹦鹉违背了鸟性,是不道德的;另一方面则强调鹦鹉具备对人类主人的感恩意识,消解了前者之反思。

Fu works(odes)are ideal texts for studying ancient aesthetics of the parrot.The aesthetics of parrots in ancient China established in Han Dynasty,prevailed in Wei and Jin Dynasty.And it further developed in Tang and Song Dynasty,and has been passing from generation to generation later on.The aesthetics of parrots in ancient China develops from three aspects in the parrot,namely,its appearance,characters and fate.People appreciated its shining colorful feathers,its excellent ability of imitating spoken words,and finally,people felt sympathetic for its fate of being captured and imprisoned.The ways of people’s appreciation reveals the aesthetics of animals.The aesthetic experience of parrots in ancient China includes both of aesthetic interest and environmental morality.Anthropocentrism lies in the tradition of analogizing virtue to parrots in the aesthetics,while the care of parrots’fate to be domesticated indicates the highest level of the animal aesthetics.The parrots aesthetically appreciated are not wild ones,rather,they are“humanized”.There is a paradox for the moral idea on parrots in Fu works related.Poets realized that people’s domestication of parrots was unmoral for that violated parrots’nature;but they also stress on the idea that parrots show their grateful feeling to human beings,which abolishes the former’s reflection.