宗教、世俗与艺术的媾和:论唐代女冠诗的审美中和

Marriage among Religion,Convention and Art: On the Neutralization of Aesthetics about the Taoist Nun Poem of Tang Dynasty

唐代女冠诗人持有的宗教身份与负载的文化背景之间的矛盾对抗性质,使其诗歌创作呈现出耐人寻味的多元内涵。一方面,儒教与道教的教义决定了她们宗教选择的世俗化倾向与现实生活的非宗教性特征;另一方面,世俗人生中的“爱情”与“婚姻”,则成为她们颇具宗教情结的精神寄托。作为维持精神平衡和释放生命激情的载体,诗歌成为她们生命意兴、人生理想与独立人格的“中和”体现。三者的媾和,不仅意味着现实主义的理性精神与浪漫主义的艺术精神的融合,而且典型体现了中国古典美学的审美“中和”原则。

The Taoist nun poems have varied meanings because of interdependent and mutually repelling relationship between their religious capacity and the background of civilization. First, because of Taoism and Confucianism, their poems are non-religious. Second, they placed their ideal, hope and feelings on amour and marriage in the conventional life. Their tragedy of amour was similar to sacrifice in the sacrificial rites of religion. The third, their enthusiasm, ideal and independent personalities were given to poem. The three points not only mean rational spirit of Realism and art spirit of Romanticism mix together, but also reflect the neutralization of aesthetics on Chinese classic aesthetics.