孟荀的“性—情”结构论及艺术本体性

Mencius' and Xun Zi's Doctrine of the “Nature-Sentiment” Structure and the Ontology of Art

本文从孟子和荀子思想中的“性”与“情”两大范畴入手 ,构建了一个作为生命本体存在形式的“性—情”结构论样式。通过对统领“性—情”结构论的“心”本体的聚合和分解作用 ,梳理了一个心—性—情的逻辑脉络。将“乐”作为形式本体与审美快感体验的主要体现方式进行解剖 ,而使之成为艺术本体存在和审美愉悦的现实参照。本文认为 ,由“心”本体而建构的“性—情”结构论 ,是后世的艺术创造活动中人们提出的所谓“吟咏情性”和“心统性情”等命题的始基 ,它既有张扬艺术情感而创构艺术魅力的作用 ,也有以伦理文化制约艺术一审美体验的局限性。

The author of this paper,starting with the two categories of “nature”and “sentiment”in Mencius' and Xun Zi's thoughts,attempts to construct a pattern of the “Nature-Sentiment”structure as a form of the ontological existence of life,and,through the composition and decomposition of “mind”itself,viz the dictator of the doctrine of the “nature-sentiment”structure,to integrate the different logical threads of Mind-Nature-Sentiment.He anatomizes“music”(Yue) as the main embodiment of form itself and the experience of aesthetic pleasure,and thus makes it into a reference to the ontological existence of art.Consequently the author holds that the doctrine of“nature—sentiment”structure is the very basis of the so-called“lyricization of nature and sentiment”and the “dictatorship of mind over nature and sentiment”.It plays the role of carrying forward one's emotions to create artistic charm,but at the same time,it has its own limitations of controlling art-esthetic experience with ethic culture.