江淹个性审美与儒释道思想的文学书写

Jiang Yan's Literary Writing on Personality Aesthetics and Thoughts of Confucianism,Buddhism and Taoism

南朝文学家江淹,在创作上追求狂率不羁、纵情任性的美学理念,竭力翻新逐奇,而且全面悉心地模拟、学习屈原与《楚辞》,把骚体独特的个性精神发扬光大的同时,也进一步深化了其创作的不拘一格。另外,跌宕的人生际遇的深切影响,又受到当时儒、释、道三家合流的思想交织映照与浸染,江淹文学作品也体现出各家文化的鲜明特色。这种三教思想因素的共存,促使江淹在后期形成了和合、圆融、平静的心态,前期诡异多变、独标性灵的创作风格,则逐渐得以调适与消解。

Jiang Yan, a litterateur in the Southern Dynasties, pursues uninhibited and indulgent aesthetic concept and spares no efforts to renovate and seek novelty in his creation. Moreover, by devoting all his attention to the comprehensive imitation and study of Qu Yuan and the Poetry of the South, he carried forwards the unique personality spirit of Sao Style and also further depended his crea- tion which is not limited to one style. Besides, due to the profound influence of his turbulent life opportunities as well as the interwea- ving, reflection and interaction of the collaboration of Confucianism, Buddhism and Taoism, Jiang Yah＇ s literary works also reflected the distinct features of each culture. The coexistence of these ideological elements from the three religions impels Jiang Yan to form har- monious, easy-going and calm mentalities in his later years, whereas the strange and changeful creative style with highlighted personal- ity in his earlier years is gradually adjusted and dispelled.