论唐代审美意象时空建构的“逍遥游”思维

On the thought of "Peripateticism" in the construction of Aesthetic image in Tang Dynasty

道家逍遥游思维对唐代审美意象时空建构产生深远影响,它不仅指空间层面的无所待,同时也暗含时间上的无际涯。道家美学能够透过象外之象的妙象走向时空的融合,渗透于唐代美学与文论之中。在其影响下的唐代审美意象时空是超越性的道体意象时空,从社会人生走向宇宙自然层面,从物我间隔走向心物之间。审美意象时空视域由此无限打开,在时间上形成以“道”为中心的审美意象时间建构途径,从空间维度打开逍遥游空间视野,将存在空间诗意化、审美化。主体“游”于心物之间,在无限的自然界有着唐人独特而又恣意的意象时空想象和意象时空审美。

The Taoist thought of "Peripateticism" has a profound influence in the construction of the aesthetic image in Tang Dynasty. It not only refers to the undesirability of space, but also implies the undesirability of time. Taoist aesthetics can penetrate into the aesthetic and literary theory of Tang Dynasty through the wonderful image of the image beyond image to the integration of time and space. Under its influence, the time and space of aesthetic image in Tang Dynasty is a transcendent time and space of Tao body image, from social life to the level of universe and nature, from the distance between object and self to the combination of mind and object. Thus the horizon of aesthetic image time-space is opened infinitely, it forms the way of constructing aesthetic image time with "Tao" as the center, and the space vision of "Peripateticism" is opened from the spatial dimension, so the existing space is poeticized and aestheticized. The subject "swims" between mind and object, the infinite nature has the Tang people’s unique and arbitrary image time-space imagination and image time-space aesthetic.