论“情景合一”

"情景合一"作为一美学命题,它的意思是说好的文学艺术作品是"情"和"景"结合的产物。"情景合一"作为一美学命题在明清时期已有颇多论述,王夫之的《斋诗话》论之颇多,近代王国维《人间词话》从人生境界上讨论了这一问题。"情景合一"实与"天人合一"思想有密切关联。"情景合一"要求人们以其思想感情再现天地造化之功,如庄子所说:"圣人者,原天地之大美。"人们的思想感情如欲再现天地造化之功,必以"人"与"天"为一体而可能。

On the Feeling and Scene for Oneness

As an aesthetic proposition, feeling-and- scene-oneness indicates that literary and art masterpieces are but the products of harmonious blending and perfect combination of feeling and scene. This aesthetic proposition has already been discussed early in the Ming and Qing Dynasties. Wang Fuzhi has frequently referred to it in his Jiangzhai Shihua, and later we have seen Wang Guowei deal with it in his Renjian Cihua from the perspective of levels of being. In Jiangzhai Shihua, the notion of feeling-and-scene-oneness has in fact a very close connection with that of man-and-heaven-oneness. The notion of feeling-and-scene-oneness appeals to people to represent the great creations of heaven and earth through their thoughts and feelings. Just as Chuangtsu has put it, the sage explores the great beauty of the heaven and earth, feeling-and-scene-oneness is only possible when man has become one with the heaven.