意境理论中“情”“景”内涵的特殊性--船山的情景论及其对构建意境理论的启示  

The Specificity of the Connotation of “Emotion” and “Scenery” in the Artistic Conception Theory: Wang Chuanshan’s Theory of Emotion and Scenery and Its Implications for the Artistic Conception Theory

作　　者：陈莉[1] CHEN Li

机构地区：[1]中央民族大学文学院,北京100081

出　　处：《湖南师范大学社会科学学报》2022年第6期110-115,共6页Journal of Social Science of Hunan Normal University

基　　金：国家社会科学基金一般项目“楚汉梦幻艺术范式研究”(20BZW030)。

摘　　要：船山的情景论是汇成中国意境理论大河的一条支流,对于构建意境理论具有重要参考价值。船山所说的“情”具有迷离、恍惚和淡远等内涵,是人类面对天地宇宙时的一种莫可名状的情感;船山所说的“景”是直面自然的瞬间所看到的景色,它不是伦理道德的载体,可以没有任何意义,只是瞬间看到的、令人若有所感的景。船山认为只要将自然物象如其本然地呈现出来,个体生命就与天地同化,也就返归于阴阳变化之流。在船山看来,情景之间的关系是松散的,景只是触发情感的契机,未必是引发情感的对象。情景关系具有偶然性、瞬间性和神秘性。船山情景论的启示是,意境超越实际利益和现实生活矛盾之上,具有超脱玄远的性质。意境彰显的是博大苍茫的宇宙情怀,因而具有趋向于无限和空灵的特征。意境主要存在于古典抒情性作品中,不是衡量所有艺术的全能标准。Wang Chuanshan’s theory of emotion and scenery is an important contributing part of Chinese artistic conception theory. The sentiment advocated by Wang has the characteristics of being calm and blurred, and is a kind of inexplicable emotion that human beings feel when facing the universe. And “scenery” is the view that one sees at the moment of facing nature and is not a carrier of ethics and morality, which can have no meaning, but only a momentary view that makes people feel something. Wang believes that as long as the natural objects are presented as they are, individual life will be harmonized with and will return to the universe. The relationship between emotion and scenery is loose: scenery only serves to stimulate emotion, not necessarily arouses it. And it is also occasional, momentary and mysterious. The revelation of this theory is that artistic conception is far away from daily life and detached and it is beyond practical interests and real-life conflicts. The theory of artistic conception has great universal feelings, thus being infinite and ethereal. Artistic conception mainly exists in classical lyrical works, not the only standard to measure art.

关 键 词：王船山 情 景 情景关系 意境理论 

分 类 号：I206.2[文学—中国文学]