晋人知识论赋观及其美学偏向

Jin People's Fu Theory of Knowledge and Their Aesthetic Bias

晋人的知识论赋观沿续《诗经》经学的知识论诗学观,把赋体文章定义为一种理性的知识话语,把赋文活动理解为人的一种认知活动.这种赋观的代表人物是左思和皇甫谧,他们明确将汉代以司马相如等人为代表的赋文审美创作看作是自己赋观的理论对手,试图以此在赋文创作上驱散笼罩在自己头上的汉代赋文学这片巨大"阴影",开创出属于自己的,或曰属于晋代的赋文创作新格局.赋体在屈原手上作为审美自觉的文体始创,至汉代蔚为大国.汉代一方面在创作实践上主要沿屈原开启的审美道路拓展赋体文学的疆域,另一方面,在赋学思想和理论方面产生了经学和美学两种赋观.汉代贾谊、枚乘、司马相如和张衡等赋家大体依美的尺度来创作赋文本,其实现赋美的创作方法主要是想象和虚构,他们认为想象和虚构对于赋美的生成而言是必不可少的.晋人主要针对汉代赋家的这种创作现实,及其所代表的美学赋观进行了批判,认为真正正确的应该是知识论赋观.

People of the Jin Dynasty inherited an epistemological concept of Fu from The Book of Songs.The epistemological poetics view of Confucian Classics defined Fu as a rational knowledge discourse,and construed the prose's writing as a cognitive activity of human beings.Representatives of this view of Fu are Zuo Si and Huangfu Mi.They clearly regarded the aesthetic creation of Fu in the Han Dynasty represented by Sima Xiangru and others as their theoretical opponents,and tried to dispel the huge shadow of the creation of prose in the Han Dynasty.They attempted to create a new prose writing pattern that belonged to the Jin Dynasty.Fu style was created by the founder Qu Yuan as an aesthetically conscious style,and it became a magnificent spectacle in the Han Dynasty.On the one hand,the Han Dynasty mainly expanded the territory of Fu style literature along the aesthetic road opened by Qu Yuan.In terms of thought and theory,there are two kinds of Fu's views:Confucianism and Aesthetics.The Fu-writers such as Jia Yi,Mei Cheng,Sima Xiangru,and Zhang Heng in the Han Dynasty generally created Futexts according to the scale of beauty,and their creation methods to realize the beauty of Fu were mainly imagination and fiction.They believed that imagination and fiction were essential for the generation of Fu's beauty.However,people of the Jin Dynasty mainly criticized the Han-fu writers'actual situation of creation and their aesthetic concept of Fu.In a word,they steadily believed that the real correct concept of Fu should be the epistemology.