阿毗那瓦古普塔审美自我思想的理论化

Virosh Singh Baghel
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摘要

本文研究了阿毗那瓦古普塔(Abhinavagupta)的 "拉萨"(rasa)概念或审美体验,并试图从理论上阐明审美自我的概念。他认为,在体验戏剧(nāṭya)时,当观众与潜在的诗意产生共鸣并体验到普遍的情感(通过 sādhāraṇīkaraṇa)时,他们会达到一种集体意识状态,在他们之间形成一种统一性(ekaghanatā),使他们从个人因果关系中脱离出来。随后,他们的意识融合为一个集体整体,成为在审美体验中体验普遍情感的普遍主体。然而,这个主体并没有达到普遍自我的地位,因为阿毗那瓦古普塔认为,虽然审美体验(rasāsvāda)类似于精神体验(brahmāsvāda)并导致自我解体,但它并不是完全的解体,因为它仍然受到生活现象学现实的影响。然而,当观众达到审美体验的最高境界时,他们会津津乐道于śānta rasa,体验到一种无差别的极乐(ānandaikaghana)。这种极乐是一种自然的心境,享受会使心理活动(cittavṛttis)沉入潜意识,从而体验到人的意识或自我。然而,由于审美体验不会导致完全的自我消解,本文认为,尽管集体意识形成了一个普遍的主体,但自我的 "非人格化 "维度依然存在。这个维度既没有完全脱离世界,也没有完全溶入自我。本文的结论是,这种在审美体验中承载着普遍情感的集体体验的非人格化自我,可以被称为'审美自我'。
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Theorising the Idea of Aesthetic Self in Abhinavagupta
The paper examines Abhinavagupta’s concept of rasa, or aesthetic experience, and attempts to theorise the idea of an aesthetic self. According to him, while experiencing a drama (nāṭya), spectators attain a collective state of consciousness when they resonate with the underlying poetic intention and experience generalised emotions (through sādhāraṇīkaraṇa), creating a uniformity (ekaghanatā) among them, de-contextualising them from their personal-causal relations. Subsequently, their consciousness merges into a collective whole, becoming a universal subject that experiences generalised emotions during an aesthetic experience. However, this subject does not attain the status of the universal self because, according to Abhinavagupta, while aesthetic experience (rasāsvāda) resembles spiritual experience (brahmāsvāda) and leads to self-dissolution, it is not a complete dissolution as it remains influenced by the phenomenological realities of life. However, when spectators reach the highest level of aesthetic experience, they relish śānta rasa, where they experience an undifferentiated bliss (ānandaikaghana). This bliss is the natural state of mind, where the enjoyment leads to the sinking of mental activities (cittavṛttis) into the subconscious, resulting in the experience of one’s consciousness or self. Nonetheless, since aesthetic experience does not result in total self-dissolution, the paper argues that although collective consciousness forms a universal subject, an ‘Impersonalised’ dimension of the self remains. This dimension is neither fully detached from the world nor entirely dissolved into the self. The paper concludes that this Impersonalised self, which bears the collective experience of generalised emotions in an aesthetic experience, can be referred to as the ‘aesthetic self.’
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