柏拉图艺术模仿论的三副面孔

Three Faces of Plato's Theories of Art Mimesis

柏拉图在《理想国》中所使用的模仿概念与艺术理论关系最为密切。《理想国》中,模仿一词的概念复杂,柏拉图分别在艺术功能、艺术技巧以及艺术本体层面上使用该词。在这三副面孔下,模仿的概念可分别理解为:效仿/效法(言行)、模拟/扮演(口吻)、再现(理念及其影子)。抓住模仿概念的复杂面孔特征,方能理解柏拉图艺术观念中诸多前后矛盾之处。理清三副面孔的主次关系,尤其是艺术功能这副面孔对另外两副面孔的统摄作用,才能抓住柏拉图艺术模仿论的核心与灵魂,即对艺术内容不离不弃的重点关切。

The concept of Mimesis used by Plato in Republic is most closely related to art theory.The concept of Mimesis in Republic is complex.Plato used it at the level of artistic function,artistic skill and artistic ontology.Under these three faces,the concept of Mimesis can be understood as imitation of words and deeds,impersonation of tone,and representation of idea and its shadow.Only by grasping the complex features of the concept of Mimesis can we understand many inconsistencies in Plato's artistic concept.Only by clarifying the primary and secondary relations between the three faces,especially the dominating effect of the artistic function on the other two faces,can we grasp the core and soul of Plato's theory of Art Mimesis,that is,the key concern about the artistic content.