唐代自然审美略论

On the Natural Aesthetics in the Tang Dynasty

唐代全面继承了魏晋开拓的自然审美三大形态。于自然审美直接形态———纵游山水上,柳宗元可为代表,他因仕途失意而独得山水之美,自觉、细致地传达了自己的自然审美经验,其山水文字是唐代自然审美成果之结晶。白居易“中隐”理论是唐代自然审美间接形态———园林建筑的思想基础。唐代不只在外在形态上皇家、寺观、私家园林全面发达,花卉栽培和赏石之趣反映了自然审美趣味的细腻精致化。艺术的自然化是唐代自然审美拓展形态———山水艺术的最显著特征。以诗歌为代表,自然审美极大地影响了唐诗的内在结构和抒情方式,人与自然建立起全面、深入的内在精神联系是其根本原因。

The Tang Dynasty overall carried on three forms of the natural aesthetics, which the Weijin Dynasty opened up. Liuzongyuan was representative figure, referring to the direct form of the natural aesthetics——making an indulgent sightseeing tour. He enjoyed the beauty of mountains and rivers by himself because of the unlucky in his official career, and consciously and carefully communicated the natural aesthetics experience of his own; his works about mountains and waters are the result crystallization. Baijuyi＇s theory of “half-hide and half-world” was the thought basis of the indirect form——garden architecture of the natural aesthetics in the Tang Dynasty. Overall development of imperial gardens, Taoist temple gardens and private gardens wasn＇t just in the aspect of external form, the interest of cultivating flowers and plants and enjoying stones reflected exquisite natural aesthetics interest. The naturalization of arts was the most outstanding characteristics of the expansion form of the natural aesthetics——the art of landscape in the Tang Dynasty. The natural aesthetics had a great effect on the inner structure and the lyric way of poetry of the Tang Dynasty taking poetry as representative, human being and nature had set up overall and deep inner spirit connection, which was its basis reason.