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作 者:程景牧 Cheng Jingmu
机构地区:[1]宁波大学人文与传媒学院
出 处:《中国文艺评论》2024年第7期78-90,I0003,I0004,共15页China Literature and Art Criticism
基 金:2022年度教育部人文社会科学研究青年基金项目“南朝礼学与文论研究”(项目批准号:22YJC751009)的阶段性成果。
摘 要:作为中国传统艺术的一个重要概念与范畴,“高逸”在中古时期的多元学术思潮互渗的文化场域中产生发展、演进演化,以老庄、玄学的审美理念为本,汲纳了儒学与佛学之审美理念,整合了自然与名教之审美,彰显出高远飘逸、气韵生动、不涉俗韵的审美内蕴,体现出中国传统文艺的审美取向及独特精神。高逸范畴由起初的人物品鉴及书画批评术语逐渐浸入古代文论场域,成为古代诗学的一个重要审美范畴和观念,体现出文质并茂的审美特质,亦表现出尚文与尚质的双维审美取向。从本质上看,中国古代诗学中的高逸观念的审美特质是文质并茂的,既重视形式,又超越形式,更重内在精神与气韵,而这种审美特质的形成,一方面是缘于高逸范畴自身的学理逻辑,另一方面则是缘于中古文论中的文质观念。As an important concept and category of traditional Chinese art,Gao Yi(refinedness)had developed and evolved in the cultural field of diverse academic trends in the Middle Ages.Based on the aesthetic concepts of Laozi,Zhuangzi,and Xuanxue(metaphysics),it incorporates the aesthetic concepts of Confucianism and Buddhism,integrates the aesthetics of nature and the Confucian ethical code,and demonstrates the aesthetic connotation of lofty elegance,vivid charm,and non-vulgar charm,reflecting the aesthetic orientation and unique spirit of traditional Chinese literature and art.The category of Gao Yi had gradually infiltrated the field of ancient literary theory from the initial terminology of character appreciation and calligraphy and painting criticism,becoming an important aesthetic category and concept in ancient poetics,reflecting the aesthetic characteristic of emphasizing both literary quality and form,as well as the dual dimensional aesthetic orientation of emphasizing both form and internal quality.Essentially,the aesthetic characteristic of the concept of Gao Yi in ancient Chinese poetics is characterized by the balance between form and quality,emphasizing both form and transcending it to emphasize the inner spirit and charm.The formation of this aesthetic characteristic is due to the theoretical logic of the category of Gao Yi itself,as well as the concept of form and quality in medieval literary theory.
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