陈寅恪的文艺美学思想
Literary aesthetics of Chen-Yinke

摘 要： 虽然陈寅恪本人无意建构其文艺美学观，但他长期研究的中国传统文化一直是文学、历史、哲学等现代学科的混合形态，在其为数众多的学术研究成果中时有对中国文学与艺术的深刻领悟和独到见解。他的文艺美学思想在整体上有这几个主要方面：内涵丰富的“自由之思想”说与创作的“天才”论构成了其文学创作的审美特性；“真性情”与“意境”论是对文艺文本审美特性的把握；而“了解之同情”更是其文艺美学之接受主体最应该关注的特点。陈寅恪的文艺美学思想的若干观点既有对传统文艺美学的借鉴又浸透着其浓厚的历史底蕴。
Abstract: Chen Yinque did not mean to construct his literary and artistic aesthetics, but his long-term research on traditional Chinese culture has always been a mixture of modern disciplines, such as literature, history, philosophy, and the like. So in his numerous academic research on Chinese literature, there can be found some profound understandings and unique insights. On the whole, his literary and aesthetic thoughts include the following major aspects. His aesthetics for literary creation is “Free Thinking” and “Genius Theory” with rich connotations; his aesthetics for literary texts is “True Nature” with “Imaginary Context”; and his most noted aesthetics for accepting the subject is “Compasion for Understanding”. Chen Yinque’s literary aesthetic thoughts are of both referential meaning to the traditional aesthetics of literature and of deep historical significance