论古典诗歌情景交融的阐释模式及其诗学理论的发展轨迹

On the demonstrative patterns of emotions and surroundings as well as the developmental traces of poetry theories

"情景交融"是中国古代重要的诗学理论,中国诗歌的创作是和鉴赏理论达成统一认识的,因此"情景交融"往往成为诗人创作的审美取向,因而也成为了中国古代诗歌的基本表现样式。从人与自然息息相通,情与景物互动互应的审美观出发,中国诗歌形成了穷情写物、以秋为悲、乐景写哀、以情造景等相对固定的阐释模式。然而在探讨诗歌模式的同时,"情景交融"诗学理论的形成渊源和发展轨迹是值得关注的,它在中国诗歌创作进程中总结和推进了"情景交融"审美特质的不断完善和发展。"情景交融"诗学理论主要经历了"物感"、"情、物感发"、"心、物交融"、"情景相兼"、"情景交融"等发展阶段,这其间通过理论上的不断丰富和深化,从而使"情景交融"成为中国诗学重要的美学命题,也成为了诗歌创作中传统的审美标准。

The integration of emotions and surroundings is crowned with the pivotal aesthetic theory in Chinese ancient poetry.Chinese poetry is on the same wavelength with the appreciation theories during its course of being created.Thus,the integration becomes the inevitable trend of aesthetic appreciation,serving as the basic format of revelation of Chinese ancient poetry.In the spirit of ideology denoting the compatibility between human and nature,and the echoing of emotions and surroundings,Chinese poetry has been evolved into such fixed patterns as object-description driven by emotions,sentiments by the season such as autumn,and surroundings by mental fluctuations.Besides,it needs to be noted that the origin of this particular poetic theory as well as its evolving traces deserve our constant emphasis,for it promotes the creation of Chinese poetry to a more splendid height.This theory has chiefly undergone the successive stages from object-initiated responses,surrounding-initiated psychological ripples,heart-plus-object inosculation,object-plus-emotion overlapping and the integration of emotions and surroundings.With the increasing theoretical enrichment and furtherance of study,it is respectably labeled as a valuable aesthetic proposition in Chinese poetry appreciation.