从“现量”美到“情景”论——王夫之美学—文论思想的生成理路  

From Pratyaksa Beauty to Scene Theory——On Wang Fu-zhi's Aesthetics

作　　者：祁志祥[1] 

机构地区：[1]上海政法学院国学所,上海201701

出　　处：《河北学刊》2016年第6期80-85,共6页Hebei Academic Journal

基　　金：2005年度国家社会科学基金项目<中国古代美学史的重新解读>(05BZW010)

摘　　要：王夫之既是儒学大师、佛教思想家,又是诗人、诗歌理论家。本文从王氏所服膺的佛教法相宗的"现量美"出发,兼顾程朱理学与陆王心学的世界观,挖掘了王夫之诗歌"情景相生"学说的生成理路,试图为全面理解王夫之文艺美学思想系统提供一种新的视角。"现量"是直观、感性、现实的知识,它"显现真实",包含"佛性",因而具备了美的光彩。"现量"有"现在"、"现成"、"显现真实"三层含义,在此启发下,王夫之对诗歌审美认识的当下性、直觉性和特殊理性作了深入发掘。以"现量"美论诗,于是感性经验中的两大元素"景"与"情"备受崇尚,审美认识则诞生于景生情、情生景的双向交流之中。在读者对文艺作品的审美环节上,这种情景互生的双向交流则表现为客观理解与主观创造的辩证统一。Wang Fu -zhi is a Confucian master, Buddhist thinker, poet and poetical theorist. On the ba- sis of Buddhist pratyaksa and Neo - Confucianism in the Song dynasty, this paper explores the scene the- ory by Wang Fu - zhi in order to supply a new approach to Wang Fu - zhi＇s aesthetics. Pratyaksa refers to intuition, perception and knowledge of reality, including truth and Buddhist nature, so it has nature of beauty. Under this inspiration, Wang Fu - zhi studied the present, intuition and special reason of poetry, from which Wang Fu -zhi drew two elements of ＂scene＂ and ＂feeling＂ from his perceptual experience. In the aesthetics of literary works, the interaction of scene and feeling appears as the dialectical unity of objective understanding and subjective creation.

关 键 词：王夫之 美学思想 生成理路 

分 类 号：I05[文学—文学理论]