论中国古代艺术“形”“神”范畴的生成  

The Generation of the Category of xing and shen in Ancient China

作　　者：杨洋[1] 廖雨声 Yang Yang;Liao Yusheng

机构地区：[1]苏州科技大学文学院

出　　处：《中国文化研究》2023年第2期14-23,共10页Chinese Culture Research

基　　金：教育部人文社科研究青年项目“中国美学后期演变与王阳明美学研究”(21YJC720019)的阶段性成果。

摘　　要：对于生命体的认识不但是中国古代形神理论的逻辑起点,也奠定了作为艺术范畴的“形”“神”的发展基调。先秦养生学对生命构造的认识,其背后是天道逆向下贯于形体的理念。养生需要形神兼养,但是在此基础上又必然重视代表高远恒久的天道之“神”,轻视世俗易朽之“形”。当身体由先秦养生学中事实性的存在向艺术呈现的对象演变之时,形神一体、重神轻形的审美倾向也在艺术中得到了鲜明的体现。作为艺术概念的“形”“神”具有了全新的内涵,最终围绕着生命结构的上下两维,形成了以“形”“神”为核心,由筋、骨、血、肉、神、气等构成的美学范畴群。The understanding of the living body is not only the logical starting point of the theory of xing and shen in ancient China,but also the basic tone of the development of the xing and shen as an art category.The idea that the way of tao is opposite to the xing is the basis of the understanding of the life structure in the pre-Qin culture.Health preservation requires both physical and spiritual maintenance,but on this basis,it is necessary to attach importance to the shen representing the lofty and enduring way of heaven,and despise the xing which is easy to decay.When the xing evolved from the factual existence in the pre-Qin culture to the object presented by art,the aesthetic tendency of integrating xing with shen and emphasizing shen rather than xing was also clearly reflected in art.As an artistic concept,the xing and shen have a new connotation.Finally,around the upper and lower dimensions of the life structure,the xing and shen are formed as the core of the aesthetic category group composed of tendons,

关 键 词：形 神 范畴 养生学 生命结构 

分 类 号：I0[文学—文学理论]