论阿来生态写作的审美特征——以《山珍三部曲》为例

On the Aesthetic Characteristics of Alai's Ecological Writing——Taking Mountain Treasure Trilogy as an Example

阿来的中篇小说《山珍三部曲》(《蘑菇圈》《三只虫草》《河上柏影》)是继长篇小说《空山》之后的又一次生态写作。小说在故事的主体选择、审美主体的艺术表现和生态主题的文化内涵挖掘等方面表现出独特性。小说以富于藏族地域特色的松茸、虫草和岷江柏为主体,将藏民族万物有灵的苯教文化、藏传佛教的悲天悯人情怀以及汉民族的积极入世进取精神融入其中,用诗意的语言描绘了汉藏交界地区人民与自然之间曾经有过的美好关系,也用充满惋惜与伤感的笔触揭示了自然生态在现代科技文明和人类私欲无限扩张的双重挤压下不断被破坏和丧失的残酷,反思了人类文明发展中遭遇的文化隔阂和精神危机。

Alai’s novella Mountain Treasure Trilogy expresses its uniqueness in the choice of the subject ofthe story, the artistic expression of the aesthetic subject, and the cultural connotation of the ecological theme. Theauthor put tricholoma matsutake, cordyceps and cypress of Minjiang River as the main body of the novel, whichare full of Tibetan local characteristics. The novel incorporates Tibetan Bonpo Religion culture, compassionate ofTibetan Buddhism and the spirit of active realism of the Han nationality. It depicts the beautiful relationship be-tween the people and nature in the border area between the Han and the Tibetan with poetical language. It also re-veals the natural ecology that is constantly destroyed and lost under the double squeeze of modern scientific andtechnological civilization and the infinite expansion of human lusts. It reflects on the cultural barriers and spiritu-al crisis encountered in the development of human civilization.