论孟浩然的诗歌美学观及其文化品相

Meng Haoran's Aesthetics of Poetry and Cultural Quality

孟浩然的诗歌美学观主要体现在:一、提出"物情多贵远"的美学观念,对创作中的心物关系问题有明确的认识。二、极力标举诗歌创作中的"兴",强调兴致、兴会,以及诗歌境界的多重性。三、受佛教思想影响,明确提出"诗从静悟得之"的创作观。孟浩然善于将文化的复杂性浓缩成一种至醇至厚的表意方式,他的诗歌充分敞现出中国山水田园诗歌自我发展中所形成的"诗品——山水——人品"三位一体的内在构架特征下所隐藏的中国古典人文精神和文化品相。

Meng Haoran＇s aesthetics of poetry is mainly reflected in the following aspects： Firstly, he has a clear understanding of the relationship between the mind and the matter in the artistic creation and proposes the aesthetic notion that ＂the lofty sentiments on the material world should always be highly val- ued＂. Secondly, he advocates ardently the utilization of Xing（inspiration or interest）, a term which con tains Xingqu（artistic interest） as well as Xinghui（artistic inspiration） in poetry writing, and emphasizes the multiplicity of the artistic situations of poetry. Thirdly, under the influence of the ideology of Bud- dhism, he clearly states the artistic concept that ＂the poetic essence is attained from the epiphany in peace＂. Meng is excellent in expressing the complexity of the Chinese culture by means of literary condensation and artistic purification. Also, his poetry fully manifests that the Chinese pastoral has established one of its essential features -- the trinity of poetry, landscape and personality in its self--development within the intrinsic framework of the classical Chinese humanism and cultural quality.