“现量”是中国古典美学的一个重要范畴。作为美学范畴,它的母体在于佛教哲学之中。这个范畴本身就经历了由佛学而美学的演变过程。把“现量”作为美学范畴正式提出的是明末清初思想家、文学家王夫之。“现量”说是王夫之美学思想体系中非常重要的部分。综观王夫之的有关文学评论著作,就会发现,“现量”说是一个根本的概括,可以代表王夫之美学思想的特征。而且,它的意义并不局限于此。虽然王夫之首倡“现量”,但它所代表的美学思想却是源远流长的,形成了中国美学的一个独特传统。在中西美学的 “The present amount” is an important category of Chinese classical aesthetics. As a category of aesthetics, its mother lies in the Buddhist philosophy. This category itself has undergone a process of evolution from Buddhism and aesthetics. Putting the “present amount” into the category of aesthetics formally proposed Wang Fuzhi, a thinker and writer in the late Ming and early Qing dynasty. The “present amount” is a very important part of Wang Fuzhi’s aesthetic system. Looking at Wang Fuzhi’s literary criticism, you will find that the “present quantity” theory is a fundamental summary that can represent the characteristics of Wang Fuzhi’s aesthetic thoughts. And its meaning is not limited to it. Although Wang Fuzhi initiated the “present amount”, the aesthetic ideas it represents have a long history and form a unique tradition of Chinese aesthetics. Aesthetics in China and Western countries