本文關(guān)鍵詞： “意在言先 亦在言后” 中國哲學(xué)美學(xué) 感受創(chuàng)造 方式　出處：《河北學(xué)刊》2016年03期 　論文類型：期刊論文

【摘要】：王夫之的"意在言先,亦在言后"說言明詩人在創(chuàng)作詩歌之前已在胸中生成意象,然后"窺意象而運(yùn)斤"寫下此詩,而此詩又作為觀賞者涵詠的表象,在其胸中生成新的意象。也就是說,一個作品的意象創(chuàng)造并不是一次完成的,前后意象存在著差異,不同意象的心理構(gòu)形、聚合也有分別。"意在言先,亦在言后"中的"亦"字說明,意象可能在"言先"涌現(xiàn)、生成,也可能只在"言后"才明晰、顯現(xiàn)。這里的關(guān)鍵問題,一是心(胸中之竹)和手(手中之竹)可能相融相彰,也可能相違相離。心生意象,但可能"握手已違",手中之竹與心中之竹意象相離。但也可能相反,心中的意象并不明晰,但手"倏作變相",使心中之竹的非明晰意象明晰起來。二是"有意于畫"還是"無意于畫"。"有意于畫"就是為畫而畫,這必然導(dǎo)致太矜于意,太趨于目的性,而"無意于畫"則亦畫非畫,玩味于意,無目的反合于目的。三是如何"相得"、"相融",其實(shí)"初不知"。"相得"、"相融"即"我順筆性,筆隨我勢",在"有意"(即"矜意")與"無意"(即"信筆")之間。此種境界只可遇,但不可求;"初不知",終也未必可知。這就是進(jìn)入創(chuàng)作狀態(tài)的酣醉迷狂,非理性反而能心手相合。
[Abstract]:Wang Fuzhi's "intention to speak first, but also after speech" said that the poet had already created images in his chest before he wrote poetry, and then wrote the poem "to peep at the image and carry the catty", and this poem was taken as the representation of the viewer Han Yong. In other words, the image creation of a work is not completed in one time, there are differences in the image before and after, the psychological configuration of different images, there are differences in the aggregation of the different images. The word "also" in the word "after the speech" shows that the image may emerge before the word "speak before", or it may be clear and manifest only after the word "after the speech". Here is the key question. One is that the heart (the bamboo in the chest) and the hand (the bamboo in the hand) may be in harmony with each other, or they may be different from each other. The mind may have an image, but it may "shake hands", and the bamboo in the hand may be different from the bamboo image in the heart. The image of the heart is not clear, but the hand "is a disguised form", which makes the image of bamboo in the heart clear. The other is "intentionally painting" or "not interested in painting". "intentional painting" is painting for the sake of painting. This will inevitably lead to too much meaning, too tend to the purpose, and "not in painting" painting is also non-painting, taste in mind, aimless instead of the purpose. Third, how to "get together", "harmony." In fact, "initial ignorance", "harmony", that is, "I follow the pen, pen with my power", between "intention" (that is, "meaning") and "unintentional" (that is, "letter pen"). This kind of state can only be met, but can not be sought; "initial ignorance", eventually may not be known. This is into the creative state of intoxication crazy, irrational but heart and hand.
【作者單位】： 武漢大學(xué)哲學(xué)學(xué)院;
【分類號】：I01
【正文快照】： 百年來受到傳入的西方哲學(xué)美學(xué)感受、創(chuàng)造方式的影響和訓(xùn)練,中國學(xué)術(shù)界對中國古代哲學(xué)美學(xué)之不同于西方的獨(dú)特的感受、創(chuàng)造方式已越來越陌生,甚至完全遲鈍了這種感受、創(chuàng)造方式。尤其值得深思的是,由于受到西方哲學(xué)思維方式,即本體論、認(rèn)識論、存在論及邏各斯、范疇、概念等的

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 張清民;;羅蒂后哲學(xué)美學(xué)思想的兩個維度[J];河北學(xué)刊;2010年01期

2 袁學(xué)群;;美的三種屬性[J];改革與開放;2010年10期

3 徐東升;;費(fèi)希納的錯誤[J];美與時代(下旬);2013年10期

4 佛雛;;《王國維哲學(xué)美學(xué)佚文證補(bǔ)》序言[J];揚(yáng)州師院學(xué)報(社會科學(xué)版);1992年02期

5 慶志遠(yuǎn);;王國維哲學(xué)美學(xué)著述研究辨正[J];河南教育學(xué)院學(xué)報(哲學(xué)社會科學(xué)版);2014年01期

6 楊宏芹;;哲學(xué)與藝術(shù)——多變的關(guān)系[J];外國美學(xué);2013年00期

7 劉敏;對馬克思主義哲學(xué)美學(xué)方法論現(xiàn)狀的認(rèn)識[J];山東省農(nóng)業(yè)管理干部學(xué)院學(xué)報;2005年05期

8 毛宣國;;中國古代“無”的哲學(xué)美學(xué)智慧及啟示[J];求索;2006年04期

9 朱鵬飛;;生命哲學(xué)美學(xué)的歷史流變及其基本特征[J];社會科學(xué)戰(zhàn)線;2007年01期

10 薛紅云;試論諾瓦利斯哲學(xué)美學(xué)思想[J];石油大學(xué)學(xué)報(社會科學(xué)版);2003年02期

相關(guān)重要報紙文章 前2條

1 張振華;留憾亦存真[N];湖北日報;2001年

2 陳方既;對傳統(tǒng)的再認(rèn)識[N];中國藝術(shù)報;2004年

，

本文編號：1462552