作為反機械主義的「格式塔」（Gestalt）概念在中國民初知識界的接受及闡釋

格式塔（Gestalt）概念約在1926年進入到中國學術界的視域，“Gestalt”所屬德國心理學派產生於1912年左右，透過報刊的譯介，相關學說在中國的接受可說是與歐美學術界同步進行。“Gestalt”在中國主要的譯名包括格式塔、完形、完結、基斯塔、形勢等，其概念可以連結的相關思想群組包括整體、生機、機體、機能、力動、直覺、創化等。就歐美心理學派而言，格式塔心理學派反對當時流行的構造主義元素學說和行為學派「刺激－反應」的機械公式，格式塔概念強調「整體」不等於部分之和。民初科玄論戰之後，一些留學歐美之學人回國，除譯介歐美流行之學術思想外，也試圖援引格式塔學說與中國思想及文化精神相互參照。1926年以後之學人，多就“Gestalt”之概念，與「直覺」等相關文藝美學進行對話，同時亦與早先進入中國的柏格森（Henri Bergson，1859-1941）「創化論」、杜里舒（Hans Driesch，1867-1941）「生機主義」等參照加以闡釋。這些概念的引用，已不全然是心理學專業知識的介紹，更多的論述是著眼於Gestalt之概念與西方近現代機械主義、分析法作為對舉，而說明經驗與意義是彼此相依，不可或離；以及強調人如何透過對於生活經驗動態歷程以及整體的直覺把握，從而達到參悟大化生機而與之渾然合一的生命境地之追求。

關鍵字

格式塔（完形）；生機主義；整體；直覺；生命哲學

並列摘要

The concept of Gestalt entered the field of Chinese academia in 1926. The German school of psychology to which Gestalt belongs was born around 1912. Through the translations and introductions on newspapers and periodicals in China, the Chinese reception of Gestalt-related theories was arguably synchronized with the development of Euro-American academia. The translated terms of Gestalt include geshita 格式塔, wanxing 完形, wanjie 完結, jisita 基斯塔, xingshi 形勢, etc. The thought cluster with which Gestalt can be associated involves wholeness, vitality, organism, function, force, intuition, creative evolution and so forth. As far as the Euro-American school of psychology is concerned, the Gestalt psychology, opposing the prevailing mechanical formula of "stimulus-response" by constructivist element theory and behaviorism, emphasized that the whole is not equal to the sum of the parts. After the May Fourth New Cultural Movement around 1919 and the debate between science and metaphysics in 1923 in early Republican China, Chinese/Western cultures and their corresponding perspectives on life (metaphysics)/ science have their own advocates in Chinese intelligentsia, an issue that existing research has paid much attention to. After the debate; however, some returned intellectuals who studied in Europe and the United States not only introduced the academic trends in the West, but also tried to make comparison and mutual explanation between those foreign theories and Chinese thought and culture. As discussing Gestalt, Chinese intellectuals after 1926 mostly illustrated the concept with literary aesthetic ideas such as "intuition" as well as theories that entered China earlier, such as Bergson (1859-1941)'s "creative evolution" and Driesch (1867-1941)'s "vitalism." The appropriation of these concepts is not just to introduce the professional knowledge of psychology, but more of the discussion focusing on the concept of Gestalt as a counterpoint to the modern Western mechanism and analytical method, so as to show that experience and meaning are interdependent and cannot be separate. It also emphasizes how one can achieve the realization of and the unification with the vital universe through dynamic life experience and holistic intuitive comprehension.