“体相用”理论视野中的中国美学“天机”观

The Concept of"Tianji"in Ancient Chinese Aesthetics under the Perspective of"Ti,Xiang and Yong"

“天机”最初用于中国道家哲学,后被文艺家发挥。中国美学“天机”观经过历代文艺学家发展,可总结为本体、现象、作用三个角度,这恰好与佛教“体相用”思想相契合,“体”为艺术创作的本体,“相”为艺术作品表现形式,“用”为艺术作品的传“道”作用。艺术家与欣赏者通过艺术作品对“道”体悟与交流,“天机”在艺术创作、艺术交流与个人体悟的过程中一以贯之。在“体相用”思想的视角下,中国古代美学“天机”观构建了一个以“道”为基础的艺术世界,其内在逻辑为“道”→“天机”→艺术创作→艺术作品(蕴含“天机”)→“天机”→“道”。

"Tianji"was originally used in Chinese Taoist philosophy and later improved by literary artists.The concept of"Tianji"in Chinese aesthetics has been developed by successive generations of literary and artistic scholars,and can be summarized into three perspectives:ontology,phenomenon and function,which coincides with the Buddhist idea of"Ti Xiang Yong""Ti"is the ontology of artistic creation,"Xiang"is the expression of artistic works,and"Yong""is the role of"Tao"in the work of art.Artists and viewers understand and communicate with the"Tao"through the artwork,and the Tianji"is consistent in the process of artistic creation,artistic exchange and personal understanding,From the perspective of the idea of"Ti Xiang Yong"the ancient Chinese aesthetic concept of"Tianji"constructs an art world based on"Tao"",whose internal logic is"Tao"-→"Tianji"→artistic creation→artworks(containing"Tianj")→"Tianji"→"Tao"