当前学界探讨中国文学或魏晋文学自觉的问题,都未曾注意到一个至关重要的事实,那就是“时间意识”的觉醒是魏晋南北朝文学和日本中世文学自觉的根源所在。正是这种关于“时间”有限性的认识促成了魏晋感物文学向着“悲情”方向发展,也促成了日本中世感物文学“物哀”意识的兴起。从中日文学在中古时期共同发展起来的悲情意识和物哀意识所具有的多重相似性和差异性特征入手,可以深化对中日文学/艺术自觉有关问题的认识。在中古期的中日文学自觉和时间意识的强化主要表现在:一是共同的“悲感”体感,表征着对于生命“有限性”的自觉;二是共有的“死亡”意识,表征着对于生命“终结性”的思考;三是共似的“美感”体验,表征着对于“形式美”的发现;四是相近的“神道”信仰,表征着对于“超越性”的期待。然而在二者的相似性的背后还有着不可忽视的差异性,那就是魏晋诗人的悲情较为注重生命和情感的自然、历史、社会的多重维度,即使在反传统伦理中也有明确的伦理指向;日本歌人的物哀却凸显了生命的唯情化和唯美化维度,并呈现出一种集中表现恋情和死亡的悲美意识,呈现出一种非伦理化的极致美感体验。 At present, scholars have never noticed a crucial fact that the study of Chinese literature or the literary consciousness in the Wei and Jin Dynasties did not reflect the fact that the awakening of “time consciousness” is the root cause of the literature of the Southern and Northern Dynasties and the consciousness of medieval Japanese literature. It is this understanding of the limitation of “time ” that led to the development of the Wei-Jin literature toward “Sadness” and the rise of the awareness of “Medieval Literature” in Japan. Beginning with the multiple similarities and differences in tragedies and sorrows developed jointly by the Chinese and Japanese literature in the Middle Ages, we can deepen our understanding of issues related to the Sino-Japanese literary / artistic consciousness. In the middle ages, the literary awareness of China and Japan and the strengthening of the time consciousness are mainly manifested in the following aspects: first, the common sense of “sadness” and the consciousness of life “limitedness”; second, the common “death” “Consciousness, which represents the thinking of life ” end “; , Characterizing the expectation of ”Transcendence ". However, behind the similarities between the two are not negligible differences, that is, the tragedies of the Wei and Jin poets pay more attention to the multiple dimensions of nature, history and society of life and emotion, even though there is a clear ethical point in anti-traditional ethics The sorrow of Japanese singers has highlighted the dimension of life’s specialization and aesthetics, and presented a kind of sorrowful awareness of beauty that concentrated on romance and death, presenting a kind of non-ethical ultimate beauty experience.