意境的无竟之源与诗学转换  

Artistic vision in connection with the theory of infinite vision and its poetic transformation

作　　者：支运波 

机构地区：[1]江南大学人文学院,江苏无锡214122

出　　处：《云南师范大学学报（哲学社会科学版）》2015年第5期75-80,共6页Journal of Yunnan Normal University：Humanities and Social Sciences Edition

摘　　要：从词源学和生存美学角度审视意境,提出意境直接源自庄子的无竟观。意境与无竟之间存在的美学同质和诗学转换关系。它们两者的这种关系在于:一是王弼在言意关系中融入象与情突破了人生境界向诗学境界转换的束缚,二是意境是体道生成的无竟人生美学的诗学转换,三是意境与无竟之间存在审美关系、审美超越和自然美学的三重审美同质性。无竟凭借在文艺中由文字构筑的象的介质作用,完成了从人生实践向艺术审美的诗学转化。From the perspective of etymology and the aesthetics of existence,this paper argues that the concept of artistic vision directly comes from Zhuang Tzu’s theory of infinite vision.The relation-ship between aesthetic homogeneity and poetic conversion lies in-between the concept of artistic vision and the theory of infinite vision.This relationship finds expression in the following：firstly,the schol-ar Wang Bi in the period of the Three Kingdoms discussed the relations between language and mean-ing by focusing on images and emotions,which was a breakthrough in the shift from the discussion of life to that of poetics;secondly,the artistic vision was obtained from a poetic shift in connection with the infinite-life aesthetics incurred from understanding Taoism;thirdly,the relationship between the concept of artistic vision and the theory of infinite vision reveals that there exists an aesthetic homoge-neity among the aesthetic relations,aesthetic transcendence and aesthetic of nature.Relying on con-structing images in literature and art,the theory of infinite vision achieves the poetic transformation from the reality of life to poetic conversion.

关 键 词：意境 无竟 言意关系 审美转换 

分 类 号：B835[哲学宗教—美学]