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西方的“移情说”与中国传统的“情景交融”在某些方面虽有着异曲同工之妙,但两者在对“审美对象”概念的界定、审美主体作用及主客体对立消失三方面都有着一定差异——西方移情说更偏重于人的感情外射,而中国传统审美除移情入景、人情外射于物之外,更多的则强调因人的“物化”而对物情有志的同感,即情景交融,体现了天人合一的思想。
In some aspects, Western “empathy theory” and “traditional Chinese” “situation blending” have the same purpose in different aspects but their definitions of the concept of “aesthetic object”, the role of aesthetic subject and the relationship between subject and object There is a certain difference between the three aspects of the disappearance of opposition - the western empathy is more emphasis on people’s emotional outreach, while the traditional Chinese beauty in addition to empathy into the scene, the human outside of things, more emphasis on people’s “Materialization” and the same aspirations of the material that the scene blend, reflects the idea of harmony between man and nature.