摘要
着重探讨了柳宗元山水游记对六朝山水文的继承和开拓,以及对后代山水文学的影响,发现记游性质的诗序、《山海经》等山水文对水、石的叙述和描写为柳氏提供了摹本和开创空间。柳氏将道家的“愚”和虚静美学注入山水游记,使作品融会着奇、理、骚的色彩。后人对柳氏山水游记的接受,主要形成三种文学现象:一,遇与不遇的山水情怀;二,“愚溪”的多元内涵:三:取材、撷思于柳氏游记的作品。
This paper focuses on the inheritance and creativity of Liu's travel notes against the scenic literature of the Six Dynasties, and its impact on the landscape literature of later generations. The discovery of poetic preface characteristics of travels as well as the description of water and stone in Shan Hai .ling provides Liu Zongyuan with the copy and creative space. Liu infuses Taoist's “fool” and the aesthetics of the visional peace into his landscape travel notes which makes his literature pervaded with fancy, reason and sorrow. The reception of Liu's landscape travel notes forms three major phenomena: first, the lucky and unlucky sentiments towards the landscape ; second, the multiplex connotation of “Yuxi”, third ,works drawing materials and ideas from Liu's travel notes.
出处
《柳州师专学报》
2006年第1期6-12,共7页
Journal of Liuzhou Teachers College
关键词
柳宗元
山水游记
六朝
山水文
Liu Zongyuan
travel notes of the scenery with hills and streams
Six Dynasties
scenic literature