论文总字数：40186字

摘 要

本文主要探讨宗白华的意境理论及“意境”阐释的发展演进趋势。宗白华根据意境的内容与境界的高低将意境分为功利境界、伦理境界、政治境界、学术境界与宗教境界五种，他的意境理论特指介于学术境界与宗教境界之间的艺术意境。本文从时空节奏与生命节奏入手，论述宗白华意境理论的内涵：宗白华认为艺术意境产生在节奏化、音乐化的“无往不复的天地之间”，诞生于艺术家“活跃生命”与“凝神静照”的体验中，消除了主客对立，达到了物我一体的境界，并借用了禅宗现象空观、伯格森“直觉”说的审美静观的方法，以天人合一的虚静之心，直观超越时间与空间的无限宇宙；具体的艺术手法引入了虚实相生的传统方法。宗白华的“意境”可用“道、舞、空白”的结构特点高度概括。另外，宗白华将艺术意境分为“直观感相的摹写”、“活跃生命的传达”与“最高灵境的启示”三个层次，本文对宗白华意境分层的合理性存在质疑，并认为在意境的不合理分层，和不同诞生渊源之间的矛盾中产生了直观与象征的矛盾，造成时空观的混乱。同时，本文认为宗白华意境理论的矛盾是为寻求“借鉴西方”与“回归本土”间的平衡与和谐的一种尝试。

本文还将宗白华与王国维的意境理论进行比较，从而推出意境理论的未来演进趋势。与王国维以西方美学思想为主建立的意境体系相比，宗白华扎根于中国传统哲学，基于中国具体的传统艺术建立艺术意境理论，并与古典“神韵说”的内涵存在某种内在的关联，反映出意境理论从过度借鉴西方向回归本土传统演进的趋势，未来的意境理论将在中西文化不断的碰撞、交流中寻找一条中西对话的发展演进之路。

关键词：宗白华，意境，时空观，节奏

Abstract

This article mainly discusses ZONG Baihua’s artistic conception and the future development trend of the concept of “artistic conception”. ZONG Baihua divided the artistic conception into five categories: utilitarian realm, ethical realm, political realm, academic realm, and religious realm according to the content of the artistic conception and the state of the realm. His conception especially refers to the artistic conception between academic realm and religious realm. This article starts from the spatiotemporal rhythm and the life rhythm, and discusses the connotation of Zong Baihua's artistic conception: ZONG Baihua believes that the artistic conception arose from the rhythm and music of the “between heaven and earth”. The birth of artistic conception should eliminated the opposition between the subject and the guest in the experience of “active life” and “concentrating on the tranquility of the mind”, and achieved the realm which makes the human beings and their circumstances a whole world. Using the aesthetic perspective of Zen phenomena emptiness and Bergson’s “intuition” theory, to intuitively surpass the infinite universe of time and space with the emptiness of Nature Unity. The specific Artistic method introduces the traditional method of virtual reality. ZONG Baihua’s “artistic conception” can be highly summarized by the structural characteristics of “Tao, Dance, and Blank”. In addition, ZONG Baihua classified the artistic conception into three levels: “intuition with intuitive sense”, “transmission of active life”, and “revelation of the highest spiritual state”. This paper questions the rationality of ZONG Baihua’s artistic conception stratification, and believes that the contradiction between the unreasonable stratification of artistic conception and the contradiction between different creations created intuitive and symbolic contradiction, causing chaos in the view of time and space. At the same time, this article believes that the contradictions of ZONG Baihua’s artistic conception is an attempt to achieve the balance and harmony between “drawing on the West” and “returning to the tradition”.

This article also compares ZONG Baihua’s and WANG Guowei’s conception of artistic conception, thus introducing the future development trend of artistic conception.In contrast to WANG Guowei’s artistic conception based on Western aesthetics, ZONG Baihua’ s theory is rooted in Chinese traditional philosophy and establishes artistic conception based on some certain types of Chinese traditional art. It also has some internal correlations with the connotation of the classical “Verve” theory which reflects the trend of the theory of conception from excessive reference to the West to return to the development of local traditions. The theory of future artistic conception will slowly find a path of development and evolution of Sino-Western dialogue in the continuous collision and communication between Chinese and Western cultures.

Keywords: ZONG Baihua, artistic concept, space-time outlook, rhythm

目 录

摘要 I

Abstract II

绪论 1

第一章 宗白华意境理论的内涵解读 5

第一节 时空节奏：宗白华意境之理论根基 5

一、时空运行的节奏 5

二、 生命运动的节奏 7

第二节 天人合一：宗白华意境之诞生渊源 9

一、天机灵想 9

二、人工步骤 10

三、刹那直观 11

四、天人合一 12

五、虚实相生 14

六、道舞空白 15

第三节 调和：宗白华意境理论之矛盾 17

一、层次与意境 17

二、“直观”与“象征” 18

三、“刹那”与“联想” 18

四、矛盾之原因 19

第二章 意境阐释与中西对话 21

第一节 从王国维到宗白华：借鉴西方与回归传统 21

一、意境的定义 21

二、意境的创造 22

三、意境的评判 24

四、意境理论的来源 25

第二节 从古代到现代：立足传统与中西对话 28

一、古今“意境”之辨 28

二、寻中西对话之路 30

余论 32

参考文献 33

致谢 35

绪论

一、研究背景

恩格斯（1820-1895）在其著作《反杜林论》中明确指出：“一切存在的基本形式是时间和空间，时间以外的存在和空间以外的存在，同样是非常荒诞的事情。”^[1]艺术产生于时空之中，对艺术之境的描述也离不开时空；时空观与艺术之境的关系不断交融深入，进入艺术之境的最高层次，即艺术之境之“极”，形成了美学范畴的“意境”，因此，时空观也成为意境理论的重要内容，“意境”便是对现实中的有限时空做无限超越。

早在春秋战国时期，《列子·汤问》中便有“余音绕梁，三日不绝”的描述，音乐是时间艺术，存在开头、高潮、结尾的时间流动。听者利用通感将听觉的“声音”在心理空间中凝固成可见的丝缕般的物象，以表达对此音乐的喜爱与赞赏。这种音乐的“凝固”的时空效果不随时间的停止而消失，主观上绵延了声音存在的时间，突破了有限的时空，并在心理空间中显现出一个集听觉与视觉为一体、渗透着听者主观情感的景象，此景象是由景与情融合而成的“艺术的境界”。但此时列子对时空的认识还局限于具体艺术之中，时空观还很模糊、未成形，对现实时间的超越也处于有限的、无意识的阶段，仅是借“通感”、“比拟”等方法对事物进行主观的描述，还达不到艺术之境之“极”也即“意境”的境界。

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