中華思想文化術語選篇

虛靜Void and Peace

排除一切欲望與理性思維的干擾，達到心靈的純凈與安寧。由道家老莊最先提出，荀子也用它說明專心致志所達到的一種精神狀態。由于這種心境與文藝審美中無物無我、無知無欲的心理特性相通，因此，古代思想家與文藝批評家也用“虛靜”來說明文藝活動中的審美心理。這一術語強調文藝創作中的心靈自由，認為它是達到審美最高境界的重要前提。

Void and peace mean that all distractions， such as desires and rational thoughts， should be dispelled to attain peace and purity of the soul. The idea of void and peace was first proposed by Laozi and Zhuangzi， the founders of Daoism， and then used by Xunzi to refer to a state of mental concentration. Such a state of mind is similar to the psychological conditions in appreciation of works of literature and art， which are characterized by being totally free from the awareness of oneself and the outside world， and free from any urge and desire. Therefore， thinkers and literary critics of earlier times used this term to explain the state of mind in literary and artistic creation and appreciation. It stressed the need for spiritual freedom in artistic creation， suggesting that this is an important precondition for reaching the highest level of aesthetic appreciation.

引例 Citations：

◎致虛極，守靜篤。（《老子·十六章》）

（達到虛空境界，心中沒有任何雜念；堅守安寧心境，不受外物干擾。）

When one attains the state of void and peace， his mind becomes peaceful and free of any distractions. He can withstand the temptations of the outside world. （Laozi）

◎是以陶鈞文思，貴在虛靜，疏五藏，澡雪精神。（劉勰《文心雕龍·神思》）

（因此構思文章，最重要的是虛靜，不受外物干擾，身體舒泰如同五臟貫通了一樣，精神潔凈如同洗潔過一樣。）

In conceiving an essay， one should strive for a mental state of quiet emptiness and not let oneself be bothered by external interferences， and be relaxed and at ease just like all his internal organs are put in perfect comfort and his spirits refreshed by a thorough wash. （Liu Xie： The Literary Mind and the Carving of Dragons）

知音Resonance and Empathy

體會和理解文藝作品的意蘊與作者的思想感情。原指音樂欣賞中的知己，后經魏晉南北朝時期文藝批評家的闡釋，用來泛指文藝鑒賞中的心心相印、互相理解。“知音”作為文學批評的核心概念，涉及文藝創作與鑒賞中的個體差異與共性等諸多問題，有著豐富的精神內涵，與西方的讀者反應批評理論、接受美學、解釋學等基本思想有一致之處。

The term is about appreciating and understanding the ideas in literary and artistic works and the thoughts of their authors. The original meaning was feeling a sense of resonance with music. It was later extended by literary critics in the Wei， Jin， and Southern and Northern dynasties to mean resonance or empathy between writers / artists and their readers / viewers. As a core concept in literary criticism， it touches upon both particular and general issues in artistic creation and appreciation， involves rich intellectual implications， and meshes with the Western reader-response criticism， receptive aesthetics， and hermeneutics.

引例 Citations：

◎是故不知聲者不可與言音，不知音者不可與言樂。知樂則幾于禮矣。（《禮記·樂記》）

（不懂自然聲音的人無法與其談論音律，不懂音律的人無法與其談論音樂，通曉音樂的人也就接近懂得禮了。）

Talking about melody with someone who has no ear for natural sounds would be a waste of time， and so would discussing music with someone who knows nothing about melody. One who knows music is close to understanding social norms. （The Book of Rites）

◎知音其難哉！音實難知，知實難逢，逢其知音，千載其一乎！（劉勰《文心雕龍·知音》）

（理解音樂是多么困難啊！音樂實在難于理解，理解音樂的人很難遇到，要遇到理解音樂的人，恐怕是千年一遇呀！）

It is such a challenge to understand music！ Since music is so hard to understand， it is difficult to find people who can appreciate it. It may take a thousand years to find someone who understands music！ （Liu Xie： The Literary Mind and the Carving of Dragons）