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感物说,又称物感说,是中国古典美学中一个重要的范畴,同时,也是艺术创作中的重要方面。两汉时期,董仲舒的《春秋繁露》将“物”的范围扩大到宇宙万物;《淮南子》提出由“感”而发的情在艺术创作中占主要的地位。魏晋时期,陆机对感物说进行了进一步的阐释;刘勰在《文心雕龙》中对“感”和“物”之间的关系做了专门的论述;钟嵘在继承前人说法的基础上,对“感”和“物”在艺术创作中的关系给出了新的见解。
The sense of things, also known as the sense of materiality, is an important category in Chinese classical aesthetics. It is also an important aspect of artistic creation. During the Han Dynasty, Dong Zhongshu’s Spring and Autumn Annals extended the scope of “things ” to everything in the universe. “Huainanzi” proposed that the feelings made by “sense ” predominate in artistic creation. In the Wei and Jin Dynasties, Lu Ji further explained the sense of the object; Liu Xie made a special discussion on the relationship between the “sense” and the “thing” in “Wen Xin Diao Long”; Zhong Rong On the basis of inheriting the former theories, this article gives new insights into the relationship between “feeling ” and “thing ” in artistic creation.