绮丽审美风格与晚明文学现代性——以晚明小品文为考察中心

The Delicacy Aesthetic Style and Literary Modernity in Late Ming Dynasty——Taking the Sketches of the Late Ming Dynasty as the Center of Investigation

晚明小品文绮丽审美风格赓续南朝文学颓废审美风格传统而具有新质。在思想格调层面,它躲避宰制儒家崇高精神所标举的明道、宗圣等规约,注重个体极致性的审美愉悦,日益表现出唯美—颓废精神;在创作主体方面,由有位的士人转变为山人、处士等身份低微的士阶层,进而题材内容告别宏大叙事而转向个人性的小叙事;在感性形式方面,它于长行文字八股时文文体之外,大兴独抒性灵的短札书牍等,极为注重以女性化的譬喻方式为代表的细节描写。这些新变不仅表现出晚明文人独特的审美个性和审美自由,形成晚明社会普遍性的文人文化,而且将宋明宰制儒家所标举的阳刚的崇高审美风格转变为阴柔的唯美—颓废审美风格,表现出中国审美文化中人与文的觉醒,从而具有一定的现代意义。

The gorgeous aesthetic style of sketches in late Ming Dynasty inherited the decadent aesthetic style tradition of Southern Dynasty literature and it also had new quality. In the ideological level,it avoided the statute of Confucianism and sect of the noble spirit of the confucian,and paid more attention to the aesthetic pleasure of the individual,thus showing the spirit of decadence. In the subject of the creation,it changed from standing intellectual to persons with a low level of intellectual property,such as hermits or persons who had not been official,and the content of the subject became a small narrative with a personal nature from a grand narrative. In the form of sensibility,while the eight-part essay was in fashion,the short note books featuring the expression of temperament were vigorously promoted,and it attached great importance to the description of details represented by feminine metaphor. In this way,it not only showed the unique aesthetic personality and aesthetic freedom of the late Ming scholars,and then formed the literati culture of the late Ming society. Moreover,it transformed the masculine and sublime aesthetic style advocated by Confucianism in the Song and Ming Dynasties into the feminine aesthetic decadent aesthetic style,showing the awakening of humanistic spirit in Chinese aesthetic culture and having certain modern value.