摘要
中国古代美学中的自然观大致上经历了老庄对自然的玄化、玄学对自然的情化和佛禅对自然的空灵化这样三个大的阶段。每个阶段中人与自然的关系不同,导致了对美学和艺术的影响不同。其中,老庄对自然的玄化所带来的有无虚实的辩证法为中国艺术意境的诞生提供了精神框架,玄学对自然的热爱形成了意境诗歌情景交融的血肉之躯,而佛禅对自然的空灵化处理使中国古代意境诗歌在情景交融的形态和有无虚实的辩证结构中充满了生命的灵机。中国古典诗歌意境的产生和发展是这三种不同的自然观共同作用的结果。
The theory of nature in ancient Chinese aesthetics had roughly experienced three stages, i. e. , Lao Zi and Zhuang Zi's metaphysical interpretation, the metaphysics' interpretation of emotion, and Zen Buddhist interpretation of ethereality. At each stage, the difference of the relationship between humans and nature resulted in different influence on aesthetics and art. Among which, Lao Zi and Zhuang Zi' s metaphysics of nature brought a dialectics of being and nothingness, and unreal and real, had provided a spiritual framework for the birth of Chinese artistic mood. Metaphysics' love for nature had formed real bodies of poetic mood mixing emotion and scene. Zen Buddhist dealt nature with ethereality, and made ancient Chinese poetry of mood full of inspiration of life in a morphology of mixing emotion and scene, and in a dialectical structure of being and nothingness, and unreal and real. The coming into being and development of mood in Chinese classic poetry has been a result of these three different views of nature in coalition.
出处
《学术月刊》
CSSCI
北大核心
2004年第5期87-95,86,共10页
Academic Monthly
基金
2001年甘肃省教委社科规划项目
