略论魏晋“形神”理论的美学转换  

Discussion about Aesthetic Transformation of the Form and Spirit Theory during the Wei-Jin Period

作　　者：易菲[1] 

机构地区：[1]中南林业科技大学家具与艺术设计学院,湖南长沙410004

出　　处：《华北电力大学学报（社会科学版）》2014年第2期96-101,共6页Journal of North China Electric Power University(Social Sciences)

基　　金：2012年度湖南省哲学社会科学基金项目(项目编号:12YBA344)

摘　　要："形神"理论最早是一个颇具争议的哲学问题,魏晋时期的人物品藻和随之而来的玄学思想深化了这一理论,并使之具有了美学意味,进而成为艺术创作的重要原则,影响了中国传统艺术创作观和审美观念的形成。"形神"理论的这种演进并非一蹴而就,其间经历了复杂而曲折的转换过程,并且具有明显的逻辑痕迹,因此,对这一过程作细致的思考和研究,对于理解中国古典美学和艺术的特质,是一种有益的尝试。The theory of Form and Spirit was an earliest controversial philosophical issue. The person evaluation during Wei-Jin period and the subsequent metaphysics deepened the theory and made it an aesthetic means. Thus the theory became an important principle of artistic creation. Meanwhile, the Chinese traditional concept of artistic creation and the formation of aesthetic ideas were also affected. The evolution of the theory was not accomplished at one stroke, but experienced a complex and tortuous process of conversion. Also it had an obvious signs of logic. Therefore, to make a thorough research on the process is a useful attempt for the understanding of Chinese classical aesthetics and artistic qualities.

关 键 词：形 神 言 意 以形写神 

分 类 号：I01[文学—文学理论]