中国古代文论对“艺术精神转型”的理论自觉.docx.docxVIP

中国古代文论对“艺术精神转型”的理论自觉 　摘 要： 刘勰在对“楚艳汉侈，流而不反”文学现象的反省中，察识到恰当把握“艺术表现度”，乃是攸关文学未来发展命运的大问题。而对“艺术表现度”的自觉意识，只有在所谓“古典型”精神氛围中才能伸展出来。此一意识的出现，预示着中国文学活动中艺术精神的转型。 为了凸显解决此问题的现实紧迫性与理论重要性，刘勰选择了“宗经稽古”的言说方式，把“艺术表现度”放在“文之枢纽”部分，作为文学基本原理之一来讨论。此一理论陈述策略，机智而又诡谲。“宗经”固然可以借助五经的权威性，顺利提升随着艺术精神转型而出现的“艺术表现度”问题在古代文论中的理论地位和理论层次；“稽古”却随时有可能把“宗经”真正想要言说的与现实实践密切相关的理论内涵逐出“在场”，从而给《宗经》解读留下颇具弹性的解释空间。《宗经》篇所谓五经“极文章之骨髓”的说法并不符合历史实际。“文能宗经，体有六义”，实乃刘勰基于现实实践焦虑而生的理论想象。通过对刘勰“宗经”言说问题意识的还原，对“宗经稽古”陈述策略诡谲性的解构，召回由于陈述策略的诡谲而被逐出“在场”的“文能宗经，体有六义”真正想要言说的与现实实践密切相关的丰富而深刻的理论内涵。 ; 　关键词： 刘勰； 《文心雕龙》； 宗经； 艺术精神 　Abstract: To highlight the realistic urgency and theoretical significance of appropriate control of “extent of artistic expression”, Liu Xie chose to view it as one of the basic literary principles by “investigating the classics in terms of the system of literary criteria”. Depending upon the authority of the five classics of literary criticism, Liu was able to smoothly elevate the weight of “the extent of artistic performance” in the theoretical hierarchy of classics of literary criticism. On the other hand, however, “investigating the classics” offered him adequate flexible room to interpret the theoretical implicature of the classics. Therefore, Lius view of “Writing has its governing system of criteria, which generates the six meanings of style” actually reflected his theoretical imagination out of his anxiety about realistic practice. So it is necessary to reshape the rich theoretical connotation as regards the close interrelation between the real implication of the statement “Writing has its governing system of criteria to follow, which generates the six meanings of style” and realistic literary practice by restoring Liu Xies view of the issue and deconstructing his stating strategy for “investigating the classics in terms of the system of literary criteria”. 　Key Words: Liu Xie; WEN XIN DIAO LONG; the system of literary criteria; “transformation of the spirit of art”; 　题 解 　本文题中所谓“艺术精神”，是源自黑格尔艺术史观里的一个概念。“美是理念的感性显现”［1］1