山水诗的融通之境:王维《辋川集》中的空间叙事艺术

The Blending Realm of Landscape Poetry:Space Narrative Art in Wang Wei’s Wangchuan Collection

时间和空间是哲学家长期以来研究的对象。然而,在西方的哲学体系中,以时间及线性时间为主导的历史进步论在哲学领域中占据着主导地位。相比之下,中国古典美学其实是一种“空间性”美学,从诗论、画论到书法艺术都凝聚着强烈的“空间意识”。而这种空间意识的形成是从审美主体的审美体验出发,经过“同情”与“移情”的方式建构理论共通性,最终通过反思达到中国古典美学对人整体生命把握的目的。本研究旨在通过以王维《辋川集》为例,试图探讨中国古典美学的“体验—同情—反思”的方法论意义,深入理解中国古典美学的空间性特征。

Time and space have been the research objects of philosophers for a long time.However,in the western philosophical system,the theory of historical progress dominated by time and linear time occupies a dominant position in the field of philosophy.In contrast,Chinese classical aesthetics is actually a kind of“spatial”aesthetics,which embodies a strong“spatial consciousness”from poetics,painting theory to calligraphy art.The formation of this spatial consciousness is based on the aesthetic experience of the aesthetic subject,through the way of“sympathy”and“empathy”to build theoretical commonality,and finally achieves the purpose of Chinese classical aesthetics to grasp the whole life through reflection.Taking Wang Wei’s Wangchuan Collection as an example,this research attempts to explore the methodological significance of“experience-sympathy-reflection”in Chinese classical aesthetics,and deeply understand the spatial characteristics of Chinese classical aesthetics.