【摘要】 中国古代的“物感”说可追溯到《乐记》,它历经两汉时期的逐步发展，至魏晋六朝时期成熟，并对当时的“舞感”理论产生深远影响。总体而言，两汉魏晋六朝时期的“物感”说对“舞感”理论的建设体现在两个层面：不仅在于“物”之向度，即注重对外在世界的感知与肢体动觉的捕捉；还体现在“心”之向度，即强调对内在世界的感受与情感层面的表达。在“物感”说的影响作用下，两汉魏晋六朝的“舞感”从单纯注重视觉观赏发展为肢体动觉与内心情感并重的表演感觉，这一转变推动了后世乐舞艺术的进一步繁荣与发展。更多还原

【Abstract】 The ancient Chinese theory of object-affected sensibility can be traced back to Yue Ji(Book of Music). It underwent gradual development in the Han Dynasty, reaching maturity during the Wei, Jin, and Six Dynasties periods, profoundly influencing the contemporaneous theory of dance sensibility. Generally speaking, the object-affected sensibility theory of this era contributed to the construction of dance sensibility theory through two dimensions: The “object-oriented” dimension, emphasizing the perception of the external world and the capture of physical kinesthesia; The “mind-oriented” dimension, highlighting inner emotional resonance and affective expression. Under the influence of object-affected sensibility, the dance sensibility of the Han, Wei, Jin, and Six Dynasties evolved from visual appreciation to performative sensibility which integrated kinesthetic movements and emotional depth, laying the foundation for the subsequent flourishing of Chinese music and dance art.更多还原