中国古代艺术时空的结构属性及当代意义  

On the Structural Temporal-Spatial Properties of Chinese Ancient Artand Their Contemporary Significance

作　　者：王诗雨 WANG Shi-yu(School of Liberal Arts,Nantong University,Nantong 226019,China)

机构地区：[1]南通大学文学院,江苏南通226019

出　　处：《南通大学学报（社会科学版）》2022年第2期66-72,共7页Journal of Nantong University:Social Sciences Edition

基　　金：教育部人文社会科学重点研究基地重大项目“中国古代文艺结构思想研究”(15JJD750005)。

摘　　要：中国古代艺术时空结构是动态节奏与静态结构的有机统一,主要受尚“化”与执“中”这两种思维模式的影响。尚“化”,偏重道家思想,指向的是动态节奏,呈现的是时空结构的多变性与张力性,集中体现在“化”“游”“远”“逸”四大关键词,而“化”又是“游”“远”“逸”的基本前提和内在推动力;执“中”,偏重儒家与佛家思想,指向的是静态结构,但又静中有动,是时空结构的整一性与圆融性,集中体现在“中”“和”“圆”“通”四大关键词,并以“中”为前提。这是中国古代艺术时空结构区别于其他东西方艺术时空结构的根本之所在,并从自然、生命、主体等三个方面对中国当代艺术时空及其结构创造产生着重要的影响及意义。The temporal-spatial structure of ancient Chinese art is an organic unity of dynamic rhythm and static structure,which is mainly influenced by the two thinking modes of favoring“Hua”and sticking to“Zhong”.“Hua”,with emphasis on Taoism,points to a dynamic rhythm,presents the variability and tension of the temporal-spatial structure,which is embodied in the four key words of“hua”,“you”,“yuan”and“yi”,while“hua”is also the basic premise and internal driving force of“you”,“yuan”and“yi”;adherence to“zhong”emphasizes Confucianism and Buddhism,and points to a static structure,but there is motion in the static,a harmonious temporal-spatial whole in its full play in the four key words preceded by“zhong.”This is what makes the temporal-spatial structure fundamentally different from any other eastern or western art’s structure,this significantly impacting the contemporary Chinese art structure and its structural innovation.

关 键 词：古代艺术 时空结构 本质属性 动态节奏 静态结构 

分 类 号：I01[文学—文学理论]