摹仿论与古希腊的创作规定方式  

Mimesis and its Influence on Ancient Greek Artistic Creation

作　　者：李咏吟[1] Li Yongyin

机构地区：[1]浙江大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2024年第3期21-31,共11页Drama:The Journal of the Central Academy of Drama

摘　　要：摹仿论(Mimesis)与模仿论(Imitation)两个概念并没有本质区别,就看它们是根源于希腊传统还是罗马传统。摹仿理论,在古希腊时期就已完全发展成熟。柏拉图与亚里士多德奠定的摹仿理论,不仅揭示了生存摹仿与存在的本质联系,而且显现了艺术摹仿的无限多样性。一方面,艺术摹仿直接参与了希腊文化生活的建构,另一方面,摹仿理论本身规定了创作与世界的根本联系。摹仿的外在性与摹仿的内在性,是艺术行动的两个方面。从希腊艺术出发可以发现,只有将外在摹仿与内在摹仿结合起来,才能真正显现艺术的深度内涵,彰显生命存在的本质意义。摹仿理论之所以在今天依然具有强大的思想市场,是因为摹仿本身规定了创作者与对象世界的关系,它揭示了创造与非创造的内在界限,为创作本身提供了自由可能性。The concepts of Mimesis and Imitation are fundamentally similar,with the distinction often hinging on whether they are rooted in Greek or Roman tradition.In ancient Greece,the theory of imitation was fully developed and matured,notably advanced by Plato and Aristotle.Their insights not only reveal the intrinsic link between imitation and existence,but also underscore the infinite diversity within artistic imitation.On one hand,artistic imitation actively contributed to the construction of Greek cultural life,while on the other hand,it established a fundamental connection between creation and the world.The external and internal facets of imitation represent two dimensions of artistic action.Examining Greek art reveals that only by integrating external and internal imitation can the profound essence of art be fully exposed,unveiling the essential significance of life's existence.The enduring appeal of imitation theory in modern intellectual discourse lies in its capacity to define the relationship between creators and the objective world,delineating the inherent boundary between creation and non-creation,and ultimately fostering freedom and potential for creativity.

关 键 词：摹仿 模仿 柏拉图 亚里士多德 形象 

分 类 号：J83[艺术—戏剧戏曲]