摘要
“境层”概念在宗白华美学研究中失落已久,需要将之打捞出来重新认识。这一概念酝酿于《新诗略谈》(1920),发展于《艺术学》讲稿(1926—1928),完成于《中国艺术意境之诞生(增订稿)》(1944),宗白华艺术意境论思想亦至此形成。宗白华将艺术意境分为“直观感相的模写”“活跃生命的传达”和“最高灵境的启示”三种境层,三者既相互独立又彼此融通、逐渐层深,意在为主体和艺术生命精神的双向开拓提供条件。宗白华早期主要吸收了歌德关于自然摹写的思想,后来用中国古代绘画美学改造、补充、发展了前者。“境层”概念凸显了艺术意境的结构特征,带有鲜明的空间性特点,是宗白华沟通中西艺术、建立世界性美学的中介。重审“境层”概念,既可呈现宗白华美学思想的有机性和整体性,也可启发我们对新时代艺术、审美与社会问题的思考。
Zong Baihua divides the artistic conception into three levels:"imitation of intuitive feelings,""delivery of proactive life,"and"revelation of the highest spiritual realm."These three levels function independently while connecting with each other.They explore further by each level,paving the way for the reciprocal development of subjectivity and spirit of art life.In the early stage,Zong mainly drew from Goethe's thought on imitation of nature,and later trans-formed,supplemented and developed the former with ancient Chinese painting aesthetics.High-lighting the structural characteristics of artistic conception,i.e.,distinct feature of space,the jingceng concept serves as the intermediary for Zong to bridge Chinese and Western art and therefore establish a form of worldwide aesthetic.
出处
《中国文学批评》
CSSCI
北大核心
2023年第1期55-65,M0004,共12页
Chinese Journal of Literary Criticism
基金
国家社会科学基金重大项目“审美意象的历史发展及其理论建构研究”(21&ZD067)阶段成果。
