《橡林译穗》之三
〔摘自方东美教授早期杰作〕
哲 学 三 慧
方东美
6.314此同情交感之中道正是中国文化价值之模范。周礼六德之教，殿以中和，(大司徒郑注：忠言以中心。)其著例一也，诗礼乐三科之在六艺，原本不分，故诗为中声之所止，乐乃中和之纪纲，礼是防伪之中教，周礼礼记言之綦详，其著例二也。中国建筑之山回水抱，得其环中，以应无穷，形成园艺和谐之美，其著例三也。六法境界之分疆叠段，不守透视定则，似是画法之失，然位置，向背，阴阳，远近，浓淡，大小，气脉，源流，出入界划，信乎皴染，隐迹立形，气韵生动，断尽阂障，灵变逞奇，无违中道，不失和谐，其著例四也。中国各体文学传心灵之香，写神明之媚，音韵必协，声调务谐，劲气内转，秀势外舒，旋律轻重孚万籁，脉络往复走元龙，文心开朗如满月，意趣飘扬若天风，一一深回婉转，潜通密贯，妙合中庸和谐之道本，其著例五也。
〔Extracted from Professor Thomé H.
Fang’s early work〕
Three Types of Philosophical Wisdom
Trans. Suncrtes and Sandra A. Wawrytko
6.314 Such a concentric
way of sympathetic interpenetration
is precisely the great norm of the Chinese cultural values. It is
remarkably illustrated, first, in the
Book of Propriety
of the Chou Dynasty wherein the six virtues have consummated in the
pair of equilibrium and harmony. (In his
Commentaries
on it, Grand Minister Cheng Hsüan of
the Han Dynasty had interpreted, the Chinese word for "sympathy," as
compounded of "the concentrinc"and
"the heart-core.") It is remarkably illustrated, secondly, in the Six Arts (Six
Classics), wherein poetry, propriety, and music were originally
indistinguishable in that poetry means wherever the note of concentricity
reaches; music means the ruling measure of equilibrium and harmony; and
propriety means the teachings on the concentric way of life as the authentic,
for prevention of hypocrisy. It is remarkably illustrated, thirdly, in the art
of Chinese architecture wherein the buildings are surrounded with mountains and
rivers as if situated spiritually in the pivot of Tao so as to be responsive
readily and adequately to the myriad situations of life, thus forming in
epitome the beauty of harmony in the art of gardening. It is remarkably
illustrated, fourthly, in the art of Chinese painting wherein the deliberate
"break" of the law of perspective may seem to be a defect in method;
yet, as treated with the mastery of composition, direction, contrast
[yin-yang], distance, shade and light, size, texture, source and stream,
passages and segments, and executed by the magic touch of an able hand, the
latent is at once made manifest, and there emerges the vividness of quality in
all its immediacy ["ch’i-yün sheng-tung,"
usually rendered as "exuberant vitality"], as in a direct vision or
intuition, that completely blocks out any screening obstructiveness
and presents the scene of wonders in the infinitely fluctuating forms, yet
without departing in the slightest from the principle of equilibrium
and harmony. It
is remarkably illustrated, fifthly, in literature wherein various genres of
production are all aimed at the conveyance of the unique aura of the spiritual,
and at the depiction of the subtle charm of the divine. Thus it follows that
sound and rhyme make a harmony while note and rhythm form a concord; the
vigorous force turns inwardly for condensation while the graceful tendency
burst forth outwardly for expression; the rhythmic modulation echoes
spontaneously that of the cosmic note while the total texture resembles the
racing course of the great dragon; the literary mind brightens as the full moon
while the creative spirit soars aloft as riding the wind celestial. Each and
every nuance of meaning is shown subtly, suggestively, and with restraint, in a
thoroughly sustained style, with all parts organically interconnected, yet in
perfect accord with the Mean
or Equilibrium and Harmony as the Fundamentum of the
Tao.
馀详：
（１） http://www.thomehfang.com/kumarajiva/3huiC.htm
（２）http://www.thomehfang.com/kumarajiva/sanhui3.html
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