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題 名 | Jingjie 境界 |
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作 者 | 溫儒敏; | 書刊名 | Tamkang Review |
卷 期 | 24:3/4 民83.春-夏 |
頁 次 | 頁99-106 |
分類號 | 821.8 |
關鍵詞 | 境界; 意境; 皎然; 司空圖; 劉禹錫; 鄭燮; 嚴羽; 袁枚; 王國維; Jingjie; Jiaoran; Sikong Tu; Liu Yuxi; Yan Yu; Zheng Xie; Yijing; Wenjing mifulun; Shipin; Chan; Yuan Mei; Wang Guowei; |
語 文 | 英文(English) |
英文摘要 | Jingjie 境界, also known as yijing 意境or jing 境, is an ambiguous, abstract term which refers roughly to a state of free and unlimited imagination and comprehension attained through aesthetic activity. The term is found in Tang dynasty discussions on poetry and painting where its meaning varies with the context in which it is found but is still quite narrow in scope. I n the Song dynasty, under the influence of Chan Buddhism, the term becomes at once more profound and abstract, with a strong emphasis on the role of enlightenment in aesthetic activity. By the Qing dynasty the term and its variants are common critical categories, with the stress on enlightenment still very much in evidence, but with an added focus on. a total aesthetic understanding. Wang Guowei of the late Qing made jingjie and the related yijing central critical categories in his theory of aesthetics, attempting a systematic definition which emphasized the mutual interrelationship between the subjective and objective elements in aesthetic activity. Wang’s conception of the perfect creative state (jingjie) stresses the poet’s freedom from subjective ties and a selfless accordance with nature which in turn allow the imagination full rein to produce a limitless aesthetic effect or artistic world. Modern critics have attempted to clarify jingjie’s parameters more closely than their traditional predecessors. Recent definitions include the metaphysical theory, the intuitive imagination theory and the theory of aesthetic levels, all of which seek to broaden the understanding of this complex concept of aesthetic activity. |
本系統中英文摘要資訊取自各篇刊載內容。