中国传统文艺创作思维探析

Exploring the Mode of Thinking in Traditional Chinese Literary and Artistic Creation

本文从《周易》及《文赋》《文心雕龙》等经典理论文献入手,探析中国传统文艺创作思维的方式与特征问题,认为“观物取象”是创作者通过对万物的观察体验摄取信息、判断事物特征的基本思维观念,也体现为中国传统文艺创作思维的逻辑起点;“感通万物”是文艺创作者与万物相伴游的思维过程和机制,在此过程和机制中形成意象;“情—意—象—言”的思维表达结构则将创作者在“观物取象”思维观念支配下,通过“感通万物”的思维过程和机制所生成的意象生动地表达出来。从“观物取象”的思维观念,到“感通万物”的思维机制,再到“情—意—象—言”的表达思维,较为集中地反映出中国传统文艺创作的思维方式和特征。

This essay explores the modes and characteristics of thinking of traditional Chinese literary and artistic creation by examining classical Chinese theoretical literature, such as The Book of Changes, Essay on Literature and The Literary Mind and the Carving of Dragons. It argues that “abstracting images by viewing the object” is the logical departure for traditional Chinese literary and artistic creation as well as the basic mindset that enables writers to acquire information from the natural world and judge the characteristics of objects. “Connecting with the nature through senses” is the mechanism for writers to integrate into the natural world and images are formed via this process. The thinking mode of “emotions-meaning-image-language” describes the process by which writers and artists vividly express the images formed by the mechanism “connecting with the nature through senses” and the thinking mode of “abstracting images by viewing the object”. The mindset of “abstracting images by viewing the object”, the thinking mode of “connecting the nature through senses” and the expression mechanism of “emotion-meaningimage-language” all together represent the characteristics of Chinese literary and artistic creation.