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題 名 | 晚明山水小品中「以我觀物」的審美感應模式=Aesthetic Telepathy in the Landscape Sketches of the Late Ming Dynasty |
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作 者 | 陳忠和; | 書刊名 | 靜宜語文論叢 |
卷 期 | 1:2 民94.12 |
頁 次 | 頁1-27 |
分類號 | 820.906 |
關鍵詞 | 晚明; 山水小品; 心物論; 移情作用; Landscape sketches of the late Ming; Mind-matter dualism; Empathy; |
語 文 | 中文(Chinese) |
中文摘要 | 本文先探究心性本體的認知對心物論的影響,揭示晚明士人將「心」視為支配「物」的本體,觀物時懷有強烈的「師心」傾向。繼之探究陽明心學中個人情感意志的定位,揭示晚明士人在審美活動中採取「以我觀物」的模式,以自我性靈為藝術創作的本源,又以自我性靈的真實表現為藝術價值的標準。最後闡明晚明士人如何將「以我觀物」的審美感應模式應用於山水小品的創作。經由美學觀念與創作實踐的解析,可歸納晚明「以我觀物」的審美感應模式所承載的歷史意義:就時代精神而言,此一模式反映出晚明士人對個體生命與感性行為的關注;就藝術成就而言,此一模式促使晚明士人在創作山水小品時追求性靈的直抒,在唐宋文學靜穆渾融的意境之外別造率真、新奇、變幻的情趣,形成獨特的文學類型,與唐宋古文頡頏競秀。 |
英文摘要 | Wang Yangmin (1472-1529), an idealist philosopher in Ming Dynasty noted for his theory of self-awareness and unity of knowledge and action, maintains that mind dominates matter, and cognitive power as a vital volitive form is the source of mental creation, thus highlighting the subject's ‘ontological’ apprehension of the outside world observed. As art originates in an artist's mind, its value depends on the sincerity of the author. The present paper will thus expound how the Ming literati applied sympathetic imagination to their landscape sketches in prose. Their works evince that aesthetic conceptions and creativity are materialized through a mode of ‘empathic observations’ which may be termed as ‘aesthetic telepathy’. While showing great interest in distinctive lifestyles and personal feelings, the Ming scholars attempted to diffuse their mind to germinate a pure and novel ‘spiritual rhythm’ as differentiated from the classical writings of the Tang and Sung times. |
本系統中英文摘要資訊取自各篇刊載內容。