王国维的“观”论 ——兼论“境界”是艺术本体
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On Wang Guowei’s “Guan” Theory——Discussion on that “Jingjie” is a Word which Means Ontology of Arts
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    摘要:

    本文拟就王国维所言之“观”,从生成背景、发生条件、与天才观及境界论关系等四个方面进行考察,进一步深化对“观”之认识。王国维所言之“观”,既以中国古典诗词为批评材料,脱离不开中国古代文论传统,又以西方哲学界叔本华等人的审美直观认识论为理论立足点。这两种理论传统存在深刻的文化背景差异。这种差异集中反映在审美观照的发生条件及与天才观、境界论的理论联系之中。并借此说明王国维拈出“境界”二字作为词的艺术本体,即作者以审美直观认识到世界、人生的普遍本质,并作词以表达之,此词即有“境界”。

    Abstract:

    This paper tries to examine Wang Guowei’s “guan” from generating background, emerging condition, its relation to genius viewpoint and “jingjie” to further deepen the understanding of “guan”. Wang Guowei’s “guan” not only took China’s ancient poems as critical materials which were rooted in Chinese ancient cultural discussion tradition but also theoretically stood on Aesthetic Epistemology of Floris Schopenhauer in the western philosophic world, whose two theory traditions have deep cultural background difference which is intensively embodied in the generating condition of aesthetic standard and the theoretical link between genius viewpoint and “jingjie” theory. This article also reveals that Wang Guowei took ’jingjie’ as art ontology of ci, i.e. the author recognized the general essence of the world and human life by aesthetic intuition and then used ci to express it, so this ci has the meaning of “jingjie”.

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