从情感科学的⾓度看艺术与哲学的交叉 - 中国宋代舞蹈剧《只此青绿》的解读 -

The Intersection of Art and Philosophy Through the Lens of the Science of Feelings: An Interpretation of the Chinese Song Dynasty Dance Drama Poetic Dance: ZhiCiQingLv

本⽂以宋代哲学思想为背景，结合感情科学的视⾓，深⼊探讨了舞蹈剧《只此青绿》的情感表达与舞蹈哲学。通过分析艺术创作中情感的必然性及哲学对艺术的影响，揭⽰了宋代哲学与感情科学在艺术创作中的交汇点。研究以理学及斯宾诺莎的伦理学⽅法论为基础，探讨了宋代哲学家如周敦颐、朱熹的思想，特别是“⽆极⽽太极”“理⼀分殊”等核⼼概念，从宇宙与⾃然的视⾓分析了情感的本质及⼈与⾃然的关系。通过对《只此青绿》的创作背景及艺术特征的分析，研究了静态艺术形式向动态艺术形式转化的过程，并结合《太极图说》的哲学体系，解读了舞蹈中“阴阳”与“动静”的表现⽅式及其艺术意义。研究进⼀步探讨了感情科学在艺术创作中的应⽤，强调其通过“思与学”帮助艺术家理解情感与⾝体的真实性，为艺术表达提供理论⽀持。最后，研究总结了感情科学与哲学结合对现代舞蹈艺术的创新意义，为艺术创作提供了新的理论框架与美学视⾓。

This paper, grounded in the philosophical thought of the Song dynasty and viewed through the lens of the Science of Feelings, offers an in-depth exploration of emotional expression and the philosophy of dance in the stage production Poetic Dance: The Journey of a Legendary Landscape Painting. By analyzing the necessity of emotion in artistic creation and the philosophical foundations of aesthetic experience, the study uncovers the intersection between Song dynasty philosophy and the Science of Feelings within the context of contemporary artistic practice. Drawing upon Neo-Confucianism and the methodological framework of Spinoza’s Ethics, the research engages with the ideas of key Song thinkers such as Zhou Dunyi and Zhu Xi. It focuses particularly on the core concepts of Wuji er Taiji (“the Ultimate of Non-being and the Supreme Ultimate”) and Li Yi Fen Shu (“Unity of Principle and Diversity of Manifestations”) to investigate the nature of emotion and the relationship between humans and the cosmos from a naturalistic and metaphysical perspective. Through a close analysis of the creative context and aesthetic structure of Poetic Dance: ZhiCiQingLv, the paper examines the transformation of static visual art into dynamic performance art. It interprets the aesthetic significance of “yin and yang” and the interplay of movement and stillness in the choreography through the philosophical framework presented in Diagram of the Supreme Ultimate (Taijitu Shuo). Further, the study explores how the Science of Feelings informs artistic creation, emphasizing its role in helping artists grasp the authenticity of emotion and bodily perception through the dual processes of "thinking" and "learning." This offers a theoretical foundation for emotionally resonant artistic expression. In conclusion, the paper highlights the innovative significance of integrating the Science of Feelings with traditional philosophy in contemporary dance, proposing a new theoretical and aesthetic paradigm for creative practice.