魏晋六朝“韵”的内涵建构与审美分野

Connotation Evolution and Aesthetic Distinction of “Yun” in Wei Jin and the Six Dynasties

探讨魏晋六朝“韵”内涵的不可通约性,揭示“韵”的审美分野现象,是基于对这一被忽视的历史现象的学理考量,旨在统一性之外探求差异性,以呈现“韵”的复杂面貌。文艺美学对“韵”多层涵义的参与性建构及选择性使用既存在意界融合,也存在审美分野,且后者要早于前者。经过考证,现存佐证“韵”字始于先秦及汉代的文献或不可信或存疑,至三国曹魏时期才出现对“韵”的释义,以之为“音和”。晋人品评人物舍声言韵,将“韵”指向抽象的人物气度,以不和谐的放旷怪诞为大韵;其后南朝画论与文论形成了“舍声”与“即声”论“韵”的审美分野。谢赫《古画品录》所论之“韵”不是指形式的和谐美而是指形象的生动传神之美,它的哲学基础不是汉代元气说而是魏晋玄学的形神之辨,它契合的是中国美学传神写意的理论体系。刘勰《文心雕龙》中“韵”字有33处,基本没有脱离声韵范围,其哲学基础是儒家的“中和”学说。刘勰固守“韵”的本义,呼应了当时重视探讨声韵的学术风尚,他忽视“韵”之新义,由此形成了他在韵论上的历史局限性。文论对“韵”之形上性的探讨至宋代才有突破,随着余意之韵在文论中的出现,“韵”在文论与艺论中才走向意界融合。

The exploration of the incompatibility of the connotation of“Yun”in Wei Jin and the Six Dynasties and its aesthetic distinction is necessary for the academic study of this neglected historical phenomenon.The purpose is to explore difference so as to present the complex feature of“Yun”.In the development of literary aesthetics,there is convergence and divergence in definition and use of the multiple meanings of“Yun”,and the latter is earlier than the former.Research shows that the currently available evidence which shows the character“Yun”originated from the documents of Pre-Qin and Han dynasties is either unreliable or doubtful,and that the interpretation of“Yun”(then interpretated as“harmony of sound(音和)”)did not appear until the Cao Wei period of the Three Kingdoms.People in Jin dynasty judged people by“Yun”(one’s spirit and temperament)rather than appearance,and even worship the eccentrics who enjoyed personal freedom and spontaneity as very charismatic people(people with“da Yun”).Later,the painting theories and literary theories in the Southern Dynasty diverged in aesthetic ideas.The former“she sheng(舍声)(valued spirit above form)”,and the latter“ji sheng(即声)(attached importance to harmony of sound)”.“Yun”in Xie He’s Gu Hua Pin Lu(Classified Record of Painters of Former Times,古画品录)does not refer to the beauty of harmonious form but spirit resonance(or vivid representation).Its philosophical basis is not the concept of yuán qì(元气)(an innate or prenatal qi)in the Han Dynasty but the argument about form and spirit of the metaphysics in Wei and Jin Dynasties,and it conforms to the theoretical system of Chinese aesthetics of vivid representation and freehand creation.Liu Xie mentioned“Yun”33 times in his work Wen Xin Diao Long(Carving a Dragon at the Core of Literature,文心雕龙).“Yun”in Liu’s work is a concept of phonology meaning harmony of sound,and its philosophical basis is the Confucian doctrine of mean and harmony(“中和”学说).Liu Xie’s adherence to the original meaning of“Yun”echoed the academic fashion that emphasized the discussion of rhyme at that time.He ignored the new meaning of“Yun”,which is the limitation in understanding“Yun”.The metaphysical discussion of“rhyme”in literary theory did not make a breakthrough until the Song Dynasty,when“Yun”was interpreted as“rewarding and lasting impressions on audience”and literary theory and artistic theory finally converged in the understanding of“Yun”.