从《红楼梦》看中国艺术之“情本体”

本文试图以实践美学的情本体理论分析以《红楼梦》为代表的中国艺术的“情本体”精神。《红楼梦》明确地把“情”为人生的本体，并使之具有了形而上的品格，成为一种既植根于现世、又具有超越性的精神。“情”在《红楼梦》里不仅是一种狭义的男女之间两心相悦之情爱，而且是一种广义上热爱人生、热爱生命、热爱世界的“爱”，更是一种超越现实世界的“悟”，一种形而上之“体”，一种既入世又出世之“玄”，也是人生存于世的“本体”。这种本体之“情”，在中国传统美学中源远流长，传承悠久。它与儒家的社会本体论、道家的自然本体论互为补充，同时也互相批评，构成中国传统人生本体论的立体交叉网络。情本体美学的理论表述可以明李贽的“童心说”和汤显祖的“唯情说”为代表，屈原的忠君爱国精神为其人格象征，《红楼梦》则是其作品的代表。

From out of The Hong Lou Meng: The ontology of qing(emotion) in Chinese traditional Art

This paper try to discuss the spirit in Chinese ancient art that had been represented by The Hong Lou Meng using the theory of “ontology of qing（emotion）” of practical aesthetics. The Hong Lou Meng distinctly regarded the qing （emotion） as the ontology of life and made it possess to metaphysical character and became transported spirit, it rooted（derived） from real world although. In The Hong Lou Meng, qing（emotion） was not only narrow desire and appreciation between male and female but was an affection for the life, social and world, a transcendent “gnosis”, an “ontology”, a most important element in life as well. There had a strong tradition of long standing in Chinese ancient aesthetics that regarded qing （emotion）as an ontology of the life. The theory about ontology of qing (emotion) had criticized but complemented with the Confucian Aesthetics and the Aesthetics of Daoism in Chinese entient aesthetics. They were made up of various and cross network of the Chinese theory of living ontology. In ancient Chinese, the theory about ontology of qing (emotion) was represented by Li-Zhi’s Tong Xin Shuo (the theory about young-one natural soul ) and Tang-Xianzhu’s Wei Qing Shuo（just emotion）,was symbolized by Qu-Yuan’s loyalism and patriotism and the Hong Lou Meng was it’s representative of writing.