论王船山的诗教意象观——以吟咏立象和身体审美为视域

On Wang Chuanshan s Image Outlook of Poetry Education:From the Perspective of Image-chanting and Physical Aesthetic

王船山从建构吟咏诗学的角度提出了一种崭新的诗教意象观。一方面,修正了自齐梁以来以诗歌声律说对诗歌音乐性阐释的不足之处,强调了诗歌音乐性不仅表现在诗歌语言的声韵,更表现在吟咏过程中书象向言象、言象向乐象的转变;另一方面,凸显了审美主体在诗歌接受中身体介入的重要性,分析了其“即情体之”“心物交合”的身体审美特征。由此,王船山立足于吟咏立象与身体审美视域的意象观,聚焦于诗歌意象的近身性、丰富性和瞬间生成性,有效地摆脱了诗歌“言不尽意”和“言之不足”的困境。

Wang Chunshan proposed the image outlook of poetry education from the perspective of constructing poetry-chanting. On the one hand, it revised the deficiencies that poetry rhythm interpreted poetic musicality since the Qi and the Liang Dynasties and emphasized that poetic musicality was shown not only in the sound of the poetic language, but also in the transformation from book image to word image, and from word image to music image in the course of chanting. On the other hand, it highlighted the importance of the aesthetic subject s physical intervention in poetry acceptance, and analyzed its physical aesthetic characteristics of “emotion and body” and “mind-matter interaction”. Thus, based on the image outlook of image-chanting and physical aesthetics, its proximity, richness and instant generation has solved the poetic dilemma that “words cannot fully express thought” and “speech is deficient ”.