先秦至唐五代哀悼诗之“空”境

The “Empty”Environment of the Poetry of Mourning from Early Qing Dynasty to Tang Dynasty and the Five Dynasties

"空"为先秦至唐五代哀悼诗之意境,不仅现于言语层面的多义性,更现于语义和结构层面的多维性:由人亡导致地理空间的空缺、空旷、萧条、冷落,存者为之感觉到生理的寒冷、寂静,进而感受到心理的孤独、寂寞,再体会到哲学层面的人生虚无、荒谬、悲剧,最后升华到宗教和审美层面的对生死的妙悟。此为一个集地理学、生理学、心理学、哲学、宗教、美学于一体、具有多重内涵的审美范畴,通过对空间之空的扩大与强化、对心理时间的刻意拉长以及对时空的虚化等手法,形成空框效应、充满张力的语言和含蓄的韵味,用以吸引主体的审美关注,给审美主体带来丰富的想象和联想空间,从而获得出乎意料的审美体验。

The ＂empty＂, as the artistic conception of the poetry of mourning from Early Qing dynasty to Tang dynasty and the Five Dynasties, is not only reflected in the level of the polysemy of words, and more re- flected in the multidimensional structure and semantics level. The person＇ s death leads to geographical vacan- cy, empty ,depression ,which saves those who feel the physiologically cold, silent ,and feel psychologically lone- ly, lonely, again feel the life of nothingness and absurdity, tragedy in philosophy, finally sublimates to under- standing of life and death in religious and aesthetic. This is the aesthetic category of geography, physiology, psychology, philosophy, religion and aesthetics, with multiple connotations. Through the expansion and strengthening of space empty, deliberately elongating psychological time and grammaticalization of space - time. It forms the empty frame effect, the tension filled language and subtle flavor, which attracts main aesthetic attention and aesthetic subject to bring abundant association and imagination space, so as to obtain the unex-pected aesthetic experience.