李渔自然审美观中的物我关系——以《闲情偶寄·芙蕖》为论

The Link between Objects and the Self in Li yu's Nature Aesthetics——A Case Study of The Lotus—Occasional Entertainment in A Free Mood

李渔《闲情偶寄》"种植部"中的《芙蕖》一文以叙事之笔从芙蕖的性状、习性入手,再从其"适观"与"备用"两方面极写其种植之利,表面上其所写似乎偏重于生物学知识的植物谱录,背离传统散文"以物衬人"、"以物写人"之抒情寄意的情意经营,然而散文作为一种主情的文学样式,它总是作者在对日常生活与自我生存的观照中承载着内在情感,正因为李渔反对对花木进行人为的加工和干预,他在平实的庶民生活里寻找感动,从而能在平凡的芙蕖中寻找创作的灵感,藉由芙蕖"在利他中完成自利"的生命姿态呈现他的审美思想,让读者在文章中体会到植物"活出自己"的旺盛生命力,也在芙蕖的色香味中,看见了自然造化的真善美。

The Lotus-Occasional Entertainment in A Free Mood was a medium used to explore the personal dream by the unsuccessful scholar Li Yu between the late Ming and the early Qing Dynasty. He utilized objects to describe human emotions and the destiny of the straw and trees to reflect human life. In other words, Li made use of natural phenomena to realize objects in life, and showed respect for and understanding of nature regularly to a- chieve harmony between humans and materials. Li Yu developed the aesthetic viewpoint by describing objects from objects themselves in such a way that mapped the beauty of subjective vegetation onto the objective human spirit. By so doing, the writer was able to turn objects into living artistic works full of great personal emotions by harmoniously combining the subject with the object. This paper attempts to explore the breakthrough of Occasional Enter- tainment in A Free Mood compared with traditional prose and to discern how it has expanded the aesthetic scope.