摘要
林纾论古文的审美艺术,推"意境"为"文之母也"、"神味"为"行文之止境",其下以"敛气蓄势"论"气势",以"天下之最足动人者"论"声调",以"最灵动、亦最绵远"论"筋脉",着意于对古文形式因素的考究,这也是林纾意境理论的组成部分,无论对古文的审美欣赏还是艺术创作都是非常有意义的。
In his essay on the aesthetic art of ancient prose, Lin Shu describes ＂artistic conception＂ as the ＂mother of prose＂ and ＂spirit＂ as the ＂destination of prose＂. He regards ＂convergence and storage for bursting＂ as ＂power＂, ＂the most touching sounding＂ as ＂tone＂ and ＂the highest flexi- bility and gentleness＂ as ＂veins＂. His research focused on the ancient prose＇s formation factors. Constituting the essential part of his theory on artistic conception, the formation factores are signifi- cant in aesthetic appreciation and artistic creation of the ancient prose.
出处
《福建工程学院学报》
CAS
2012年第5期498-503,共6页
Journal of Fujian University of Technology
基金
福建省教育厅A类社会科学研究项目(JA10218S)
福建省高校杰出青年科研人才培养计划(JA12253S)
关键词
古文
审美形态
气势
声调
筋脉
技法
ancient prose
aesthetic form
power
vein
technique
