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本文針對學界關於古人“重神輕形”的傳統見解,提出古代文藝學的基本形神觀是“主神重形”。首先考察古代思想史上的形神論,認爲其中已貫穿着重神而不輕形的觀念,爲文藝學史上“主神重形”的形神關係學說奠基。其次分析東晉顧愷之及其後畫論家的主神重形論,强調其在文藝學史上主神重形論中的導夫先路作用。最後討論古代形神關係研究中的有關問題,提出一直都重形、形神不可分等觀點,並由此抉發出尚未被充分重視的古人“形神兼具”觀念下“真”的概念,藉以進一步說明“主神重形”纔是古代文藝學形神關係論的基調。
In this paper, according to the traditional viewpoints of scholars on the ancients “heavy god light form ”, this paper proposes that the basic form god view of ancient literature and art is “Lord God heavy form ”. First of all, it examines the God-of-the-God theory in the history of ancient thoughts and holds that the concept of God-centeredness rather than lightness has always been adhered to and laid the foundation for the theory of the relationship between God and God in the history of literature and art. Secondly, it analyzes the main god-form theory of Gu-kai-zhi and its later theorists in the Eastern Jin Dynasty, and emphasizes its function of leading the way in the master-god-theory of the history of literature and art. In the end, we discuss the related problems in the study of the relationship between the ancient gods and the gods, put forward the viewpoints that all of them have always been important and can not be separated from each other, and from this point of view give out the “truths” under the notion of “form and spirit” Concept, in order to further explain “God is the main form of God ” is the keynote of ancient theory of the relationship between form and spirit of literature and art.