中国传统思维方式对古典文论的影响
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摘要
思维方式是人类认知世界的方式，是人类文化深层结构之一，具有民族性的特征。中国传统思维方式包括推原思维、整体思维和意象思维。
推原思维产生的基础是中国内倾性农耕文化。尚始尊祖的推原意识在汉字产生过程中有所表现。《礼记·祭义》和《易传》中分别有“致反始”和“原始要终”的提法，都体现出对本原力量的重视。老子思想中的“道”、“无”、“复归婴儿”等概念，体现了返始追根意识。孔子“温故而知新”，孟子“言必称三代”，奠定了传统思维的后馈性传统。推原思维形成了“物归于心”的审美意识，并导致了虚静说的产生。中国古代文论中的“道”、“气”、“骨”等范畴，都具有推原归纳性质，经历了由具象而抽象的演变历程。刘勰在《文心雕龙》中运用了推原式的批评方法。
中国传统的整体思维注重“天人合一”，与西方哲学主客两分的本体观相列。汉字的构形体现了从整体出发的中和平衡、内向充实的审美性格。整体思维是中华元典普遍的运思方式，《易经》、《老子》中都提出了朴素的整体思想。两汉时期，“天人合一”的宇宙整体观最终形成。中国古代文学批评注重文学艺术的整体效果，气、韵、神、味、境等审美范畴，都以整体流动性为美。整体思维的发展过程中出现过偶对、联系、中和等基本形式。偶对思维形成了汉民族“追求均衡、讲究对称”的心理，影响了文言修辞体式的创造与运用，并使古代文论的言说方式呈现出诗性特征。联系式思维衍生了传统的比兴方法。“中和”思想随着认知领域的扩大而产生，孔子继承和发展了前人“尚中”、“尚和”的思想，提出了“中庸”原则。刘勰的《文心雕龙》，贯穿了“折衷”的理论原则。
意象思维，是借助意象进行思维的认知方式，带有浓厚的直观体悟色彩。《周易》及其“经”、“传”，都是以“象”为中心展开的。许慎的造字说，认为汉字的产生基于意象思维方式。《老子》中较深入地阐释了“象”的概念。“意象”一词最早见于刘勰《文心雕龙·神思》篇，并由此成为古代文学理论的重要范畴之一。从理论上对审美意象特征论述得最全面、最深刻的是王夫之。王夫之的“即景会心”说，是中国古典诗学对艺术直觉最完整、最确
切的表述，也是意象思维的与逻辑思维分野的精彩论述。中国古典文论是一
个审美意象批评系统，可分为三个层次:第一是“立象”，即创造意象;第二
是“造境”，即创造“意境找;第三，整个文学作品是一个审美意象系统。
纵观全人类的思维方式，也存在一些共通的特征。西方神话一一原型批
评在批评方一式上也表现出了推原式、整体式、意象式的特征。原型批评理论
主张立足于人类原始经验，透过文学现象的表层，深入探寻艺术作品产生的
终极渊源和艺术魅力的原始根源，体现了推原思维的特征。它比中国式的推
原推得更远。原型批评的独特性在于其整体性文化批评倾向，弗莱的整体观
和中国传统文学批评的整体观区别在于:弗莱强调文学的自足性，把自然界
作为文学研究的参照系统，根本上还是主客两分的思维模式;而中国的整体
观认为，人和自然界是不可分的，用“天人合一”的观念来观照文学现象。
西方的“原型”和中国的“意象”是两个在人类学、心理学和文艺学意义上
都非常接近的概念。但中国审美意象批评更注重文学的审美特征，把它摆在
优先于原型(意象)结构分析的位置。
The mode of thinking is the way by which human beings perceive the world and is one of the profound human cultural structures, typical of national characteristics. The Chinese traditional modes of thinking consist of the deducing-from-the-original mode of thinking, the wholeness mode of thinking and the image mode of thinking.
The deducing-from-the-original mode of thinking is based on Chinese inside-inclined agricultural culture, and the consciousness of deducing-from-the-original, which values the beginning and ancestors, is expressed in the outcome process of Chinese characters. There are in Records Concerning Ritual and the Commentaries on Classics of Changes proposals of "getting back to the beginning" and "to trace back to the beginnings of things and conclude their ends" that have embodied the emphasis on the power of the original. The concepts of "Tao", "nonexistence" and "returning to the baby" in Laozi's thoughts have embodied the consciousness of returning to the original. Confucius "reviewing the old to know the new" and Mencius "three generations must be addressed while speaking" have laid foundations for the subsequent reflection tradition of the traditional mode of thinking. The deducing-from-the-original mode of thinking forms the aesthetic consciousness of "objects returning to the heart" and leads to the outcome
of the empty and quiet theory. Categories such as "Tao", "bearing" and "bone" all bear the quality of induction and of deducing from the original, which have experienced the evolving process from concrete to abstract. Liu Xie utilized the deducing-from-the-original mode of criticism in his Literal Mind and the Carving of Dragon.
Chinese traditional wholeness mode of thinking emphasizes "the unity of heaven and man", which contradicts the noumenal view in western philosophy that separates the subject from the object. Chinese characters embody the wholeness-oriented aesthetic characteristic, neutralization and balance. The wholeness mode of thinking is the general thinking method of Chinese classic works, and the plain thought of wholeness is proposed in the Classics of Changes and the Laozi. The cosmic view of "the unity of heaven and man" finally came into being in the Double Han period. Chinese ancient literary criticism emphasizes the whole effect of literature and arts, regarding the whole fluidity as beauty in such aesthetic categories as mood, lasting appeal, spirit, taste and circumstances. There have been such basic forms as even symmetry, association and neutralization in the evolving process of the wholeness mode of thinking. The even symmetry mode of thinking forms the psychology of "seeking equilibria and symmetry" in the
Han nationality, influences the creation and utilization of classical Chinese rhetoric, and engenders the expressive way of ancient literature to bear poetic quality. The association mode of thinking reproduces traditional figures of speech. The thought of "neutralization" is formed as the perceiving areas enlarge. Confucius inherits and develops the predecessors' thoughts of "valuing the middle" and "valuing the harmony" and advances the policy of
"Doctrine of the Mean". The Literary Mind and the Carving of Dragon by Liu Xie is impenetrated by the theoretical policy of "compromise".
The image mode of thinking is the perceiving method by means of images and conveys the thick color of direct experience and realization. The Zhou Book of Changes, together with its classics and biography, develops around "images" as the center. Xu Shen's theory of creating Chinese characters argues that the outcome of Chinese characters is based on the image mode of thinking. The concept of "image" is deeply expounded in Laozi. The word "image" first appeared in Liu Xie's Literal Mind and the Carving of Dragon: Spiritual Thinking and became one of the important categories in ancient literal theories. It is Wang Fuzhi who discusses the characteristics of aesthetic images to the fullest and most profound extent, and his theory of "apperception at the sight of the scenes" is the
推原思维产生的基础是中国内倾性农耕文化。尚始尊祖的推原意识在汉字产生过程中有所表现。《礼记·祭义》和《易传》中分别有“致反始”和“原始要终”的提法，都体现出对本原力量的重视。老子思想中的“道”、“无”、“复归婴儿”等概念，体现了返始追根意识。孔子“温故而知新”，孟子“言必称三代”，奠定了传统思维的后馈性传统。推原思维形成了“物归于心”的审美意识，并导致了虚静说的产生。中国古代文论中的“道”、“气”、“骨”等范畴，都具有推原归纳性质，经历了由具象而抽象的演变历程。刘勰在《文心雕龙》中运用了推原式的批评方法。
中国传统的整体思维注重“天人合一”，与西方哲学主客两分的本体观相列。汉字的构形体现了从整体出发的中和平衡、内向充实的审美性格。整体思维是中华元典普遍的运思方式，《易经》、《老子》中都提出了朴素的整体思想。两汉时期，“天人合一”的宇宙整体观最终形成。中国古代文学批评注重文学艺术的整体效果，气、韵、神、味、境等审美范畴，都以整体流动性为美。整体思维的发展过程中出现过偶对、联系、中和等基本形式。偶对思维形成了汉民族“追求均衡、讲究对称”的心理，影响了文言修辞体式的创造与运用，并使古代文论的言说方式呈现出诗性特征。联系式思维衍生了传统的比兴方法。“中和”思想随着认知领域的扩大而产生，孔子继承和发展了前人“尚中”、“尚和”的思想，提出了“中庸”原则。刘勰的《文心雕龙》，贯穿了“折衷”的理论原则。
意象思维，是借助意象进行思维的认知方式，带有浓厚的直观体悟色彩。《周易》及其“经”、“传”，都是以“象”为中心展开的。许慎的造字说，认为汉字的产生基于意象思维方式。《老子》中较深入地阐释了“象”的概念。“意象”一词最早见于刘勰《文心雕龙·神思》篇，并由此成为古代文学理论的重要范畴之一。从理论上对审美意象特征论述得最全面、最深刻的是王夫之。王夫之的“即景会心”说，是中国古典诗学对艺术直觉最完整、最确
切的表述，也是意象思维的与逻辑思维分野的精彩论述。中国古典文论是一
个审美意象批评系统，可分为三个层次:第一是“立象”，即创造意象;第二
是“造境”，即创造“意境找;第三，整个文学作品是一个审美意象系统。
纵观全人类的思维方式，也存在一些共通的特征。西方神话一一原型批
评在批评方一式上也表现出了推原式、整体式、意象式的特征。原型批评理论
主张立足于人类原始经验，透过文学现象的表层，深入探寻艺术作品产生的
终极渊源和艺术魅力的原始根源，体现了推原思维的特征。它比中国式的推
原推得更远。原型批评的独特性在于其整体性文化批评倾向，弗莱的整体观
和中国传统文学批评的整体观区别在于:弗莱强调文学的自足性，把自然界
作为文学研究的参照系统，根本上还是主客两分的思维模式;而中国的整体
观认为，人和自然界是不可分的，用“天人合一”的观念来观照文学现象。
西方的“原型”和中国的“意象”是两个在人类学、心理学和文艺学意义上
都非常接近的概念。但中国审美意象批评更注重文学的审美特征，把它摆在
优先于原型(意象)结构分析的位置。
The mode of thinking is the way by which human beings perceive the world and is one of the profound human cultural structures, typical of national characteristics. The Chinese traditional modes of thinking consist of the deducing-from-the-original mode of thinking, the wholeness mode of thinking and the image mode of thinking.
The deducing-from-the-original mode of thinking is based on Chinese inside-inclined agricultural culture, and the consciousness of deducing-from-the-original, which values the beginning and ancestors, is expressed in the outcome process of Chinese characters. There are in Records Concerning Ritual and the Commentaries on Classics of Changes proposals of "getting back to the beginning" and "to trace back to the beginnings of things and conclude their ends" that have embodied the emphasis on the power of the original. The concepts of "Tao", "nonexistence" and "returning to the baby" in Laozi's thoughts have embodied the consciousness of returning to the original. Confucius "reviewing the old to know the new" and Mencius "three generations must be addressed while speaking" have laid foundations for the subsequent reflection tradition of the traditional mode of thinking. The deducing-from-the-original mode of thinking forms the aesthetic consciousness of "objects returning to the heart" and leads to the outcome
of the empty and quiet theory. Categories such as "Tao", "bearing" and "bone" all bear the quality of induction and of deducing from the original, which have experienced the evolving process from concrete to abstract. Liu Xie utilized the deducing-from-the-original mode of criticism in his Literal Mind and the Carving of Dragon.
Chinese traditional wholeness mode of thinking emphasizes "the unity of heaven and man", which contradicts the noumenal view in western philosophy that separates the subject from the object. Chinese characters embody the wholeness-oriented aesthetic characteristic, neutralization and balance. The wholeness mode of thinking is the general thinking method of Chinese classic works, and the plain thought of wholeness is proposed in the Classics of Changes and the Laozi. The cosmic view of "the unity of heaven and man" finally came into being in the Double Han period. Chinese ancient literary criticism emphasizes the whole effect of literature and arts, regarding the whole fluidity as beauty in such aesthetic categories as mood, lasting appeal, spirit, taste and circumstances. There have been such basic forms as even symmetry, association and neutralization in the evolving process of the wholeness mode of thinking. The even symmetry mode of thinking forms the psychology of "seeking equilibria and symmetry" in the
Han nationality, influences the creation and utilization of classical Chinese rhetoric, and engenders the expressive way of ancient literature to bear poetic quality. The association mode of thinking reproduces traditional figures of speech. The thought of "neutralization" is formed as the perceiving areas enlarge. Confucius inherits and develops the predecessors' thoughts of "valuing the middle" and "valuing the harmony" and advances the policy of
"Doctrine of the Mean". The Literary Mind and the Carving of Dragon by Liu Xie is impenetrated by the theoretical policy of "compromise".
The image mode of thinking is the perceiving method by means of images and conveys the thick color of direct experience and realization. The Zhou Book of Changes, together with its classics and biography, develops around "images" as the center. Xu Shen's theory of creating Chinese characters argues that the outcome of Chinese characters is based on the image mode of thinking. The concept of "image" is deeply expounded in Laozi. The word "image" first appeared in Liu Xie's Literal Mind and the Carving of Dragon: Spiritual Thinking and became one of the important categories in ancient literal theories. It is Wang Fuzhi who discusses the characteristics of aesthetic images to the fullest and most profound extent, and his theory of "apperception at the sight of the scenes" is the
引文
1、参王作新《汉字结构系统与传统思维方式》，武汉出版社，1999年版，第255—267页。
2、刘禹锡 《秋日过鸿举法师寺院便送归江陵》引言。
3、清·庞垲，《诗义固说》卷下。
4、荣格 《集体无意识的原型》，荣格《心理学与文学》，冯川、苏克译，三联书店，1987年版，第52页。
5、荣格 《献给分析心理学》，纽约，1928年版，第162页。
6、《荣格文集》英文版，卷七，第188页。
7、荣格 《心理学与文学》，戴维洛奇《二十世纪文学评论》上册，葛林译，上海译文出版社，1987年版，第329页。
8、参王从仁 《龙崇拜渊源探析》，《中国文化源》，陈秋祥等主编，百家出版社，1991年版。
9、孙梅 《四六丛话》卷三。
10、钱中文 《文学发展论》，经济科学出版社，1998年版，第32页。
11、《周易外传》卷六，《系辞下传》第三章。
12、《周易·系辞下》。
13、王夫之 《古诗评选》 卷5。
14、王夫之 《姜斋诗话》 卷2。
15、王夫之 《古诗评选》 卷4。
16、何景明 《与李空同论诗书》，《何大复先生全集》 卷三十二，清咸丰本。
17、王国维 《人间词话》，上海古籍出版社，1998年版，第18—21页。
18、吴战垒 《中国诗学》，东方出版社，1991年版，第23页。
19、陈良运 《诗学、诗观、诗美》，江西高校出版社，1991年版，第76页。
20、[英]李约瑟 《中国古代科学思想史》，江西人民出版社，1990年版，第415页。
21、荣格 《论分析心理学与诗歌的关系》，荣格《心理学与文学》，三联书店，1987年版，第120页。
22、荣格 《心理学与文学》，三联书店，1987年版，第9页。
23、荣格 《心理学与文学》，三联书店，1987年版，第121页。
2、刘禹锡 《秋日过鸿举法师寺院便送归江陵》引言。
3、清·庞垲，《诗义固说》卷下。
4、荣格 《集体无意识的原型》，荣格《心理学与文学》，冯川、苏克译，三联书店，1987年版，第52页。
5、荣格 《献给分析心理学》，纽约，1928年版，第162页。
6、《荣格文集》英文版，卷七，第188页。
7、荣格 《心理学与文学》，戴维洛奇《二十世纪文学评论》上册，葛林译，上海译文出版社，1987年版，第329页。
8、参王从仁 《龙崇拜渊源探析》，《中国文化源》，陈秋祥等主编，百家出版社，1991年版。
9、孙梅 《四六丛话》卷三。
10、钱中文 《文学发展论》，经济科学出版社，1998年版，第32页。
11、《周易外传》卷六，《系辞下传》第三章。
12、《周易·系辞下》。
13、王夫之 《古诗评选》 卷5。
14、王夫之 《姜斋诗话》 卷2。
15、王夫之 《古诗评选》 卷4。
16、何景明 《与李空同论诗书》，《何大复先生全集》 卷三十二，清咸丰本。
17、王国维 《人间词话》，上海古籍出版社，1998年版，第18—21页。
18、吴战垒 《中国诗学》，东方出版社，1991年版，第23页。
19、陈良运 《诗学、诗观、诗美》，江西高校出版社，1991年版，第76页。
20、[英]李约瑟 《中国古代科学思想史》，江西人民出版社，1990年版，第415页。
21、荣格 《论分析心理学与诗歌的关系》，荣格《心理学与文学》，三联书店，1987年版，第120页。
22、荣格 《心理学与文学》，三联书店，1987年版，第9页。
23、荣格 《心理学与文学》，三联书店，1987年版，第121页。