论“有意”与“无意”及其美学史意义
A Study on “Intentional” or “Unintentional”and Their Significance in Aesthetic History

摘要 “无意”与“有意”是实际存在但研究不充分的一组中国古典美学范畴，以“意”为媒介脱胎于老庄哲学范畴“有为”与“无为”。“有为”必须升华到“无为”层次的质变契机是“不得已”的症候状态。“发于无意”“无意于文”还应该在文学自觉独立的语境下再审视。“无意”为文、“有意”为文以文学独立为界，引发“古今文学优劣之辨”，并进而导致生成丰富的文学创作要素理论，其以散点演绎方式呈现贯通“有意”与“无意”组范畴的理论吁求。“文不求而至”、“不求其成文而文生”、“不期于为诗而诗生”之类，“不烦绳削而自合”、“不求工而自工”、“不期工而自工”、“不期合而自合”之类，则分别着眼于审美创造、审美批评方面，呈现对于“有意”与“无意”组范畴的内涵整合。“有意”与“无意”经“不求其成文而文生”、“不求工而自工”之类整合范畴的中介，归并入“美”的范畴语域，终而成为“美是无目的的合目的性”中国版范畴表达。
Abstract：Actually， “Unintentional” and “Intentional” are two classical Chinese aesthetic categories， which have not yet fully studied. “Intention” is used as the medium derived from “Doing something” and “Doing nothing”， which are the philosophical categories of Laozi and Zhuangzi. The qualitative change， sublimated from “Doing something” to level of “Doing nothing”， is the symptom state of “last resort”. “Being unintentionally” and “Writing unintentionally” should be reconsidered in the context of literary consciousness and independence. Taking the independence of literature as the boundary of “Unintentional writing” and “Intentional writing”， triggers “the distinction of high or low quality between ancient and modern literature” and leads to the formation of a wealth of literary creation theories， which delivers an appeal for the creation the literary theory about “Unintentional” and “Intentional”. There are many literary conceptions that focus on the aesthetic creation and aesthetic criticism， all of which present the connotation integration of “Intentional” and “Unintentional”.