徐怀中小说的艺术辩证法

Artistic Dialectics in Xu Huaizhong’s Novels

徐怀中的创作和作品体现了少与多、小与大、简与繁、虚与实的艺术辩证法。他的作品总量相对较“少”,但经典作品却很“多”,在每个历史时期都有自己的代表作并产生了较大的社会影响;作品多从“小”处落笔,却能反映“大”时代的生活主流,以时代边缘的“小人物”书写出新的文学主流;他以极“简”洁的笔墨写出了极“繁”杂的历史,并将之转化为优美的艺术品,显示了其深厚的艺术造诣。徐怀中的作品现实与象征并重,虚实相生,既注重生活与现实,又渗透了作家审美理想。《牵风记》是徐怀中在生活与艺术关系的延长线上,更远更艰难的一次探索,是浪漫主义与象征主义的融合,但仍然有生活与历史的根基,有现实主义的底色,他坚持“抒情诗传统”与“柔性美”,但又以开放的心态汲取新兴文艺思潮的影响,不断开拓出新的艺术境界。

Xu Huaizhong’s works reflect the dialectics of art, between less and more, small and big, simple and complicated. The total amount of his works is relatively “less,” but his classic works are very “many.” Most of the works start from the “small,” but they can reflect the mainstream of life in the “big” era, and write a new literary mainstream. He wrote a very complicated history with his simple and clean style. A Story of Towing the Wind is Xu Huaizhong’s further and more difficult exploration on the extension line of the relationship between life and art. It is the integration of romanticism and symbolism, but it still has the foundation of life and history and the background of realism. He insisted on “lyric tradition” and “flexible beauty,” but also absorbed the influence of the new trend of literature and art with an open mind, and constantly opened up a new realm of art.