摘要
《易传》"言不尽意,立象以尽意"这一命题经过魏晋玄学家的发挥,在唐代文论家司空图那里进一步发酵,衍生出推崇文学作品的"韵外之致"这一审美理想。唐代关于诗歌境界的理论,则与这一思想形成呼应,它们都是儒家哲学、老庄哲学、魏晋玄学、佛教哲学杂揉整合之后的产物,经由有形的现象界而进入自由的审美世界,是其真谛所在。这是一条与《诗经》《离骚》开创的两大传统有很大区别的新的诗学传统。而且,作为重要的美学指标,它除了深刻影响到后世汉语诗歌的创作与评价之外,还延及词、曲、文乃至小说等其他文学体裁,成为汉语文学最具标志性的特征之一。
Metaphysics of Wei and Jin Dynasty has deepened one proposition in Yi Zhuan,this proposition is＂Word fail to convey the meaning,artistic images created to convey their meanings＂. Then this proposition has been further researched by a famous Tang dynasty literary theorist Si Kongtu. In his research,aesthetic charm has become one kind of aesthetics ideal of literary composition in China. All of this proposition and theories of poetic imagery of Tang Dynasty are rooted in Confucianism,Buddhism,Taoism and Metaphysics of Wei and Jin Dynasty. The key idea of this proposition is that aesthetic charm comes to an aesthetic world through concrete images. As an important standard,this proposition has not only produced a profound effect upon the later poem creation and evaluation,but also influenced Song Ci,Yuan Qu and other literary genres. This proposition has become a symbolic character in classical Chinese literature.
出处
《中州大学学报》
2016年第1期48-53,共6页
Journal of Zhongzhou University
基金
教育部人文社会科学重点研究基地重大项目"文学文本理论研究"(12JJD750020)
关键词
韵外之致
诗境理论
内涵
影响
aesthetic charm
theories of poetic imagery
the process of formation
connotation
influence
