試論王龍溪「良知靈氣」說宇宙圖式及其在文藝美學上的意義   免費試閱

The Universal Scheme of Wang Longxi’s Doctrine of the Spirit of the Intuitive Mind and Its Significance on Literary and Artistic Studies

「氣」在中國學術研究中是一個內容相當具份量的論題。以王龍溪這位中晚明思想家為例，近代學者多著眼以「道德主體性」詮釋其「良知」說，但現有相關文獻中透顯出，王龍溪也是明代氣論思想－「良知靈氣」的提倡者，只是相關研究多未能著力於此論題上。為彌補此一缺失，本文乃循著王龍溪「良知靈氣」概念的文獻論述線索，形構出其與「物」、「道」關係的宇宙圖式乃為：良知靈氣不但造化萬事萬物，亦貫徹在萬事萬物當中，只是萬事萬物俱會經歷「無至有」及「有至無」的階段，只有良知靈氣不息地順著天機周流默運著，天機具有無窮深邃的意義內涵，吾人最能體證良知靈氣默運之處，乃在吾人身體。吾人若能以戒慎恐懼態度，隨時保任身體之良知靈氣，使其綿密地與天地間先天良知靈氣相通息，如此便能時時在事物中感應天機，而自然而然有「至道本淡」之文出現。最後，本文指出，此一形構中的「良知」與「道」概念與關聯性的詮解，將有助於王龍溪「道」與「藝」關係美學向度的重新理解與思考。

“Qi” (energy flow) is an issue of considerable debate in Chinese academic research. Using Wang Longxi, an ideologist of the mid and late Ming Dynasty, as an example, modern scholars mostly focus on the use of “moral subjectivity” to interpret Wang’s “doctrine of innate moral sense” because related literature shows that Wang was an advocate of Qi theory, “Spirit of Intuitive Mind,” during the Ming Dynasty. However, related studies mostly fail to sufficiently address this issue. This study examines the clues of discourse from literature regarding Wang’s concept of “Spirit of Intuitive Mind ” to redeem this flaw. The universal scheme forms the relationships between it, and “object” and “Dao” are the spirit of the intuitive mind, which not only create the vast world of things but also experience the myriad things. However, all things experience the stages of “from nothing to being” and “from being to nothing,” and only the spirit of the intuitive mind incessantly follows the mystery known only to heaven to circulate silently. The mystery known only to heaven has the connotative meaning of infinite profundity, and our body is the aspect of silent circulation that we can verify with the spirit of an intuitive mind. If we can continuously maintain the spirit of the intuitive mind for our body with a cautious and watchful attitude over fear and make it communicate closely with the innate spirit of the intuitive mind of the cosmos, we are able to feel mystery known only to heaven in things at all times, naturally showing the text of “insipidity of the ultimate Dao.” Furthermore, this study suggests that an interpretation of the association between the concepts of “innate moral sense” and “Dao” in such a formation facilitates the realization and thinking over the aesthetic aptitude of relations between “Dao” and “Arts” by Wang.