“感物”:“心”“物”感应与审美创造  

“Ganwu”:The Interaction Between“Xin”and“Wu”and Aesthetic Creation

作　　者：胡乃文 路卓杭 Hu Naiwen;Lu Zhuohang

机构地区：[1]河南财经政法大学 [2]中国传媒大学人文学院

出　　处：《中国美学》2023年第1期26-36,共11页Chinese Aesthetics

基　　金：国家社会科学基金重点项目“中华美学精神的诗学基因研究”(批准号:19AZW001)的阶段性成果。

摘　　要：发轫于《礼记·乐记》的“感物”说是中国古典美学中关于审美创造的一个重要命题,意即艺术创作是“心”有感于“物”的结果,也是“感兴”产生的心理动因,其哲学根源在于“天人合一”的传统观念。从先秦儒家的以“物”比德,到魏晋玄学影响下的“物”的独立,创作主体所“感”之“物”的内涵,也从道德教化逐渐转向了更为普遍的自然风物及社会现象层面;晋宋诸家对“心”“物”关系的认识,亦从“物”对“心”的单向度感发,转变为“随物宛转”“与心徘徊”。The theory of“ganwu”originated in“The Book of music in the Book of Rites”is an important subject about aesthetic creation in Chinese classical aesthetics,which means that artistic creation is the result of“wu”(matter)felt by“xin”(mind),and it is also the psychological motivation of“ganxing”.The traditional concept of“harmony between man and nature”is the philosophical root.From the pre-Qin Confucianism’s using“wu”to compare virtues to the independence of“wu”,which influenced by Wei-Jin metaphysics,the connotation of“wu”felt by the creative subjects has gradually shifted from moral education to common natural scenery and social phenomena.Furthermore,the understanding of the relationship between“xin”and“wu”by the literary writers of Jin and Song dynasties also changed from the one-dimensional sense of“xin”affected by“wu”to“following the‘wu’”and“wandering with the‘xin’”.

关 键 词：感物 心物 物色 审美创造 

分 类 号：B83-0[哲学宗教—美学]