内向性思维、内审美形态与中国传统文艺之关系新论  

The Relationship among Introvert Thinking,Inner Aesthetic and Traditional Chinese Aesthetic

作　　者：王圣[1] 

机构地区：[1]西北师范大学文学院,甘肃兰州730070

出　　处：《西北师大学报（社会科学版）》2013年第2期36-41,共6页Journal of Northwest Normal University(Social Sciences)

基　　金：国家社会科学基金项目"中国审美形态研究"(11XZW001);教育部人文社会科学基金项目"内审美理论研究"(10YJ751076)

摘　　要：建立在认识论主客二分基础上的对象性思维,把审美局限在了感官与对象的对立统一中。而建立在中国传统的内向性思维基础上的内审美作为一种特定的审美形态,具有超越对象性思维的特点。内审美现象始终存在于中国传统的艺术创作和欣赏的过程中,其内向性的思维方式构成了中华传统艺术的重要特征。内向性思维、内审美对中国传统的艺术创作、艺术欣赏方式都有深远的影响。The traditional objective thinking established on the epistemology of objectivity and subjectivity,confined the aesthetic into the unity of opposites of the senses and the objects.However,introvert thinking,as a special aesthetic on basis of the traditional Chinese introverted thinking,is beyond the objective thinking characteristics.Inner aesthetic phenomenon has always existed in the traditional Chinese artistic creation and appreciation course,and the introspective thinking mode becomes the important characteristics of traditional art.Introverted thinking,inner aesthetic have far-reaching influence on traditional Chinese art creation and art appreciation.

关 键 词：内向性思维 对象性思维 内审美 艺术创作 艺术欣赏 

分 类 号：B83-0[哲学宗教—美学]