王维山水小诗四种美学解读辩证

A Comparative Study of the Four Aesthetic Explanations of Wang Wei's Late Landscape Poetry

王维山水小诗是考察盛唐文人审美经验之历史原态的绝佳标本。面对此一标本,出现了如下四种解读:宇文所安把它读成一种"隐喻",其方法论背景是颇有形上学意味的抒情论;叶维廉提出"任物自然"说,将山水诗的美学源头上溯自道家学说,而对禅宗与现象学作了相当的误读;萧驰认为王维晚期山水小品的观法是一种如来清静禅的禅观,其意境是直观下的"心境";张节末则以为传统观法牵引着空观主导下的王维,其山水小诗达到了纯粹看与纯粹听,"现象空观"发明了山水诗境。

Wang Wei＇s late landscape poetry is a very suitable specimen for reviewing the aesthetic experiences of the flourishing Tang literati. There were four important explanations of his poetry. Stephen Owen, who used metaphysical lyricism theory as his main methodology, thought that Wang＇s poetry had been something of metaphor. Wai - lim Yip put forward the theory of nature and pursued the aesthetic origin of the landscape poetry from the philosophy of Taoism. Xiao Chi thought that Tathagata Chan had given birth to Wang＇s late landscape poetry, and the inscape of which had been an intuitionistic frame of mind. Zhang Jiemo thought that not only the Zen perception of space but also the traditional perception had influenced Wang Wei, who had reached the level of both the pure - look and pure - listening, and it had been the phenomenological perception of space that had given birth to the inscape of Wang＇s late landscape poetry.