论古代文艺批评话语中的相学资源  

On the Physiognomical Resources in Ancient Literary and Art Criticism Discourse

作　　者：万晴川 姚雯 WAN Qing-chuan;YAO Wen

机构地区：[1]扬州大学文学院,江苏扬州225000

出　　处：《江苏师范大学学报（哲学社会科学版）》2023年第1期19-32,123,共15页Journal of Jiangsu Normal University：Philosophy and Social Sciences Edition

基　　金：国家社科基金重大项目“中国古代小说理论术语考释与谱系建构研究”(项目编号:19ZDA247);国家社科基金项目“清代小说中的文论话语整理及价值研究”(项目编号:22BZW111)阶段性成果。

摘　　要：古代文艺理论批评从相学中吸取了丰富的养料,形成了以人喻文艺的批评传统。古人认为,文学艺术作品犹如人体,是一个具有生命力的有机体,作品的诸要素犹如器官组织,都担负着不同的功能,不可或缺,不可替代,彼此和谐共处,才能生机盎然;品文论艺遵循由外而内、由表及里、由具象到抽象的相人路径。“风骨”“筋骨”“骨力”“气韵”“神韵”等美学范畴,皆由相术话语脱化而来。“骨肉均匀”“肌肉细腻”等相术原则,演化出“肌理说”等文学主张。古代相术和文艺批评,以天人同构的哲学思想为基石,体现出古代文艺理论鲜明的民族特色和重要的当代意义。The ancient literary theory and criticism absorbed rich nourishment from physiognomy,forming a critical tradition of using human as a metaphor for literature and art.Ancient people believe that literary and artistic works could be compared to the human body-a living organism with vitality.The elements of the work perform different functions like organs and tissues,each of which is indispensable and irreplaceable and shall live in harmony with each other in order to be vibrant.Literature and art appreciation follows the path of physiognomy that is from the outside to the inside,from the surface to the essence and from the concrete to the abstract.Aesthetic terms such as "vigorous style", "muscles and bones", "bone strength", "spirit" and "verve" are all derived from the discourse of physiognomy.The principles of phrenology such as "well-distributed flesh and bone" and " refined muscle" have given rise to literary propositions such as "texture theory".Based on the philosophy of the isomorphism of nature and man,ancient physiognomy and literary criticism embody distinctive national characteristics and important contemporary significance of ancient literary theory.

关 键 词：相术学 文艺批评 脱化 谱系 

分 类 号：I206.09[文学—中国文学]