论“寂”之美--日本古典文艺美学关键词“寂”的内涵与构造  

On the Beauty of Sabi ——The Connotation and Construction of Sabi

作　　者：王向远[1] 

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《清华大学学报（哲学社会科学版）》2012年第2期66-75,159,共10页Journal of Tsinghua University(Philosophy and Social Sciences)

基　　金：国家哲学社会科学基金后期资助项目“日本古典文论选译”(09FWW002)

摘　　要："寂"(さび,sabi)是日本古典文艺美学、特别是俳谐(haikayi)美学的一个关键词和重要范畴,在日本古典俳谐论中的"寂"论及松尾芭蕉等人的俳谐创作中,"寂"有三个层面的意义:第一是听觉上的"寂之声";第二是视觉上的"寂之色";第三是精神内涵上的"寂之心"。"寂之心"中又包含了"虚与实"、"雅与俗"、"老与少"、"不易与流行"四对范畴。"寂"体现于具体的俳谐创作中则是"寂之姿",是一种摇曳飘忽、余情余韵的"枝折"(しおり,shiori)乃至"细柔"(ほそみ,hosomi)之美,由此,"寂"概念的内在逻辑结构得以显现。Sabi(さび) is a key word and an important concept in Classical Japanese Aesthetics,especially in the theory of haikayi.Through the analysis of the theory of sabi and haikayi writings by Matuobashou,such three layers of its connotation as auditory sabi,visual sabi and spiritual sabi can be identified,and the third layer itself falls into four pairs of categories as void and fullness,elegance and vulgarity,youth and oldness and changeability and unchangeablility.Sabi can be found in haikayi writings in the form of shiori(しおり) or hosomi(ほそみ),a flickering,capricious or delicate quality.

关 键 词：寂 寂声 寂色 寂心 寂姿 枝折 松尾芭蕉 俳谐 

分 类 号：I01[文学—文学理论]