《文心雕龙》创作论中的审美主体性及其现代启示

The Aesthetic Subjectivity in the Creation Theory of Wen Xin Diao Long and Its Modern Enlightenment

在中国古典文论和美学长河中,《文心雕龙》闪耀着明亮而深刻的思想光辉,其创作论部分中的“神思”“物色”和“风骨”等范畴,涉及审美主客体关系、艺术构思、艺术风格等重要的理论问题,体现出独特的中华美学精神。“文艺是铸造灵魂的工程,文艺工作者是灵魂的工程师”,作者如何才能创造出“铸造灵魂”的优秀文学作品,如何真正成为“灵魂的工程师”,是本文研究的出发点。中国古代虽无“审美主体性”的现代美学概念,但刘勰其实已经自觉或不自觉地关注到了审美主体性的重要作用。《文心雕龙》是一部有着丰富思想内涵的文化宝库,探究其创作论中的审美主体性,对当今现实仍有着重要的启示意义,这意味着对人的自由全面发展的重视,乃增强中国文化自信的题中之义。

In the long history of Chinese classical literary theory and aesthetics,Wen Xin Diao Long(Literary Mind and Carving Dragon)is shining with bright and profound thoughts.The categories of“spirit thought”,“thing and color”and“wind and bone”in its creation theory involve in important theoretical issues such as the relationship between aesthetic subject and object,artistic conception,artistic style,etc.,reflecting the unique Chinese aesthetic spirit.Although there was no modern aesthetic concept of“aesthetic subjectivity”in ancient China,Liu Xie actually paid attention to the important role of aesthetic subjectivity consciously or unconsciously.Wen Xin Diao Long is a cultural treasure house with rich ideological connotation.Exploring the aesthetic subjectivity in its creation theory is still of great significance to today’s reality.This means that the emphasis on the free and all-round development of human beings is the essence of enhancing the confidence of Chinese culture.