La Stimmung du paysage dans l’esthétique allemande et les concepts esthétiques chez Wang Fuzhi et Wang Guowei

Abstract

This article examines the concept of qingjing (sentiment-landscape) and its related aesthetic notions, such as qingjing (sentiment-scene) and yijing (idea-scene) in Wang Fuzhi’s and Wang Guowei’s aesthetic theories. We will compare these categories of aesthetics with the German aesthetic notion of Stimmung from the early Romanticism to Schopenhauer and investigate into parallel evolutions and influence studies. Although Goethe, Schiller, and Schopenhauer do not belong to the group of German Romantics, their conception of Stimmung and the spiritual eye draw on aesthetics of German Romanticism. Wang Fuzhi’s conception of qingjing is still inscribed into Chinese classical thought, such as Daoist cosmology based on the original Breath and the epistemology of Indian Buddhism, such as pramāṇa (measure). We will compare the parallelism in thought evolution regarding Wang Fuzhi’s theory of qingjing and the German concept of Stimmung, both as a crystallization and intertwinement of indissociable sentiment and landscape. Many German writers proclaim that landscape is the projection of subjective emotions from inside to outside, so it can be understood as an externalization of Stimmung. According to Wang Fuzhi, sentiment unfolds as landscape, and landscape, driven by a vital impulse, is truly endowed with emotion. There is still a dichotomy between subject and object related to Stimmung, but this is not the case for qingjing. Moreover, we will also investigate the direct influence of Stimmung on Wang Guowei’s conception of qingjing and jingjie, since Wang Guowei has already been influenced by the aesthetics of German Romanticism and Idealism, especially the notion of Stimmung. This influence also contributes to Wang Guowei’s deviation from Wang Fuzhi’s aesthetic theory.

本文致力於研究王夫之和王國維的美學理論中的情景概念及其相關的審美觀念，如情景、意境等，並將這些美學概念與德國美學理論中的 Stimmung （情緒、氛圍）概念比較，進行平行研究和影響研究。王夫之的情景思想仍深深保留着中國古典思想的印記，比如基于原始氣韻的道家宇宙觀以及印度佛教的認識論，比如 pramāṇa （量）。王國維雖然借鑒了王夫之的情景理論，但他另辟蹊徑，接受德國浪漫主義和唯心主義美學的影響，尤其是 Stimmung 的影響。我們將比較王夫之的情景學說與德國美學理論的心境觀在思想演進上的平行性，因為兩者都是不可分割的情感与景觀的結晶和交織。德國浪漫主義作家以及其同代的理論家宣稱景觀是主觀情緒由內向外的投射，可以理解為情感的外化。在王夫之看來，情感展開為山水，山水在氣韻的推動下，才真正有情感的賦予。 Stimmung 仍然指涉了主客體之間存在的二分法，但情景並非如此。此外，我們還將考察德國浪漫主義的心境觀對王國維的情景和意境理論的直接影響以及由此帶來的王國維與王夫之思想的分歧。

Keywords:

• Stimmung
• qingjing 情景 (sentiment-landscape)
• qingjing 情境 (sentiment-scene)
• yijing 意境 (idea-scene)
• German Aesthetics
• Wang Fuzhi
• Wang Guowei

關鍵詞:

• Stimmung (情緒、氛圍)
• 情景
• 情境
• 意境
• 德國美學理論
• 王夫之
• 王國維

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Notes

1 在心為誌，發言為詩. Dans Owen 2003, p. 41. Avec ma propre traduction. Toutes les traductions de l’article sont les miennes, sauf indication contraire.

2 À propos de l’influence de Schopenhauer sur Wang Guowei, Bonner constate que Wang Guowei pense que “In saying that virtue cannot be taught, Schopenhauer does not mean that virtue really is unteachable but only that men cannot be induced through abstract knowledge to be virtuous. […] To lead men by means of perception and thereby to induce them to obtain a genuine knowledge of morality is definitely the business of education.” Dans Bonner 1986, p. 35. Elle a aussi analysé et évalué la pensée philosophique de Wang Guowei au début du XXème siècle et l’a comparée à celles de Kant et de Schopenhauer. Wang Guowei admire Goethe comme le plus éminent figure littéraire dans le monde dans Wang Guowei 1997, p. 53. À propos de l’influence de la pensée esthétique de Goethe sur Wang Guowei, voir Luo Gang 2011.

3 Le Scanff 2007, p. 205.

4 Schleiermacher 2011, p. 398.

5 Heidegger 1927, p. 134.

6 Andrejč 2012, p. 390.

7 Schleiermacher 2011, pp. 398–401.

8 Tang Chenxi 2008, p. 55, 87.

9 Simmel 1918, p. 233.

10 Tang Chenxi 2008, p. 87.

11 Tang Chenxi 2008, p. 77.

12 Tang Chenxi 2008, p. 77.

13 Merck 1777, p. 276.

14 Gumbrecht 2012.

15 Merck 1777, p. 276.

16 Simmel 1918, p. 264.

17 Friedrich von Matthisson (1761–1831) était un poète allemand, un des premiers membres du mouvement romantique allemand.

18 Schiller 2013, p. 238.

19 Baudelaire 1976, pp. 420–421.

20 Escoubas 2010, p. 372.

21 四時以嘆逝，瞻萬物而思紛，悲落葉於勁秋, 喜柔條於芳春。心懍懍以懷霜，誌眇眇而臨雲. Lu Ji 1979, p. 170.

22 Hu Jianci 2006, p. 111.

23 Jaccottet et al. 1995, p. 95.

24 無論詩歌與長行文字，俱以意為主。意猶帥也，無帥之兵，謂之烏合。李杜所以稱大家者，無意之詩十不得一二也。煙雲泉石，花鳥苔林，金鋪錦帳，寓意則靈. Wang Fuzhi, Jiangzhai shihua 姜齋詩話, « Xitang yongri xulun » 夕堂永日緒論, traduit par François Cheng, dans Jaccottet et al. 1995, p. 103.

25 真好景語，能化情為景也. Wang Fuzhi 2008, p. 398.

26 Jiang Yin 2001.

27 Symington 2004, p. 408.

28 此猶天之寒暑，物之生成，故曰化工之筆. Wang Fuzhi 1997, p. 193.

29 Xiao Chi 2003, pp. 27–29. Xiao Chi utilise l’orthographe particulière pratyrsa pour xianliang 現量, mais la plupart des ouvrages de référence sur le bouddhisme, par exemple Princeton Dictionary of Buddhism, utilisent pratyakṣa pour xianliang.

30 Xiao Chi 2003, p. 5.

31 À propos de l’influence de Diṅnāga sur Wang Fuzhi concernant le concept de pratyakṣa, voir Xiao Chi 2000, p. 373.

32 Xiao Chi 2003, p. 6.

33 Yu Yu 1958.

34 Xiao Chi 2003, pp. 7–8.

35 Xiao Chi 2000, p. 395.

36 À propos de qian et kun, voir Yijing : 乾《彖傳》說:「大哉乾元，萬物資始，乃統天。」坤《彖傳》說:「至哉坤元，萬物資生，乃順承天。」 (« Qian: image naturelle du ciel. Il s’agit d’une dynamique qui enclenche, initialisation, créativité et vigueur. Kun: image naturelle de la terre, en tant que matrice nourricière et protectrice. Il s’agit d’une dynamique permettent écouté, accueil, patience, protection et matérialisation, capacité de mener à terme. » Traduction de Cyrille Javary in Beaucorps – Bonpaix 2010, pp. 34–35.)

37 情者阴阳之幾也，物者天地之產也。阴阳之幾動於心，天地之產應於外。故外有其物，内可有其情矣；内有其情，外必有其物矣. Wang Fuzhi 1964, p. 20.

38 Xiao Chi 2003, p. 80.

39 Yang Xiaoshan 1996, p. 106.

40 Yang Xiaoshan 1996, p. 109.

41 Voir la discussion élaborée de ce sujet dans Kogelschatz 1986.

42 ［一］詞以境界為最上。有境界，則自成高格，自有名句。五代、北宋之詞所以獨絕者在此.［三］有有我之境，有無我之境。「淚眼問花花不語，亂紅飛過秋千去」，「可堪孤館閉春寒，杜鵑聲裏斜陽暮」，有我之境也。「采菊東籬下，悠然見南山」，…. Wang Guowei 1998, p. 1. Traduction de François Cheng dans Jacottet et al. 1995, p. 104.

43 昔人論詩詞，有景語、情語之別。不知一切景語，皆情語也. Wang Guowei 1998, p. 34.

44 不能作景語，又何能作情語耶？古人絕唱句多景語，如「高臺多悲風」、「蝴蝶飛南園」…，皆是也，而情寓其中矣。以寫景之心理言情，則身心中獨喻之微，輕安拈出. Wang Fuzhi 2011, p. 829.

45 文學中有二原質焉：曰景，曰情。前者以描寫自然及人生之事實為主，後者則吾人對此種事實之精神的態度也。故前者客觀的，後者主觀的也. Wang Guowei 1987, p. 24.

46 Luo Gang 2011, p. 42.

47 Schopenhauer 1902, p. 205.

48 Nancy 1994, p. 269 et Ucciani 2004, pp. 29–45.

49 Safranski 1991, p. 63.

50 Atelier d’esthétique 2002, p. 144.

51 Schopenhauer 1989, p. 184.

52 Luo Gang 2011, pp. 51–52.

53 Luo Gang 2009, pp. 6–7.

54 若夫悲歡離合，羈旅行役之感，常人皆能感之，惟詩人能寫之；故其入於人者至深，而行於世也尤廣. Wang Guowei 2007, p. 72.

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Fan Jiani 范佳妮

Fan Jiani is assistant professor in the Department of Foreign Languages and Literatures at Tsinghua University, Beijing. She obtained her Ph.D. degree from the Comparative Literature Department of Princeton University. Her research interests include French and German intellectual history (from early modern to contemporary), philosophy, and literature; Classics (Greek, Roman, and Late Antique intellectual history and philosophy and classical reception); East–West Comparative Studies; Critical Theory (as a branch of continental philosophy and its critique through analytical philosophy); relation between literature and philosophy; relation between visual arts, literature, and philosophy. Her publications on East–West comparison include: “Le vide dans la poésie du paysage de François Cheng et de Philippe Jaccottet,” in: Littératures et arts du vide, ed. Jérôme Duwa and Pierre Taminiaux, Paris: Éditions Hermann, 2018, pp. 25–40 and “Images of Mind, Images of God: Mirror as Metaphor in Chinese Buddhism and Early Mysticism,” Buddhist-Christian Studies 38 (2018), pp. 173–185. In addition, she also published articles on European literature and intellectual history in journals such as History of European Ideas, Early Modern French Studies, and The European Legacy.