摘要
唐代,我国大量诗文创作的审美理论产生并盛行。日僧空海作为遣唐使来我国进行文化交流,随后编撰《文镜秘府论》。作品中,空海收录了王昌龄、皎然等人的诗文理论,并结合自身,探讨诗文创作规律和审美功能。空海认为这是一个由感性的意象,到触物起兴的兴象,最后到达虚实相生的意境的过程。由此,我们可窥见唐代诗歌美学理论之一斑:从刘勰的"窥意象而运斤",到殷?的"兴象"审美情趣,最终由王昌龄和皎然进一步揭示诗歌意境含蕴无尽的特征。空海在《文镜秘府论》中对意境理论的探讨,恰好与唐代审美意境理论的发展历程极其相似。
In Tang dynasty, there appeared and prevailed a large number of aesthetic theories on poetry and essay composing in our country. During this period, a Japanese monk named Ku Kai came to China for cultural exchange as ambassador. And later he composed a book named "On the Looking Glasses of the Secret Mansion of Literature". In this writing, Ku Kai compiled several theories from the famous poets, such as Wang Changling, Jiao Ran, etc. Furthermore, he combined these theories with his own thought and experience, and probed into the writing rules and aesthetic functions. Ku Kai thought that authors had to form an impressible world at first, then after being deeply moved by scenes, they finally created an empathic bourn. It is very coincidental that the theory of artistic conception also followed tiffs trend in Tang dynasty, thus we can say Ku Kai' s discussion towards artistic conception almost matched the one in Tang dynasty.
出处
《中山大学研究生学刊(社会科学版)》
2006年第3期15-23,共9页
Journal of the Graduates Sun YAT-SEN University(Social Sciences)
关键词
《文镜秘府论》
空海
意象
兴象
意境
"On the Looking Glasses of the Secret Mansion of Literature" Ku Kai Imago Empathy Artistic Conception