唐宋诗学观照下的“野水”意象

The Image of“Wild Water”in a Poetic Perspective of the Tang-Song Period

“野水”意象展示了唐宋诗学的重要转向。中国古代诗学从唐代野字意象的逐渐增多,到宋代野水意象的异军突起,不仅意味着唐宋诗学从“大物山水”到小景山水的转向,而且从杜甫所开创的“野水”美学至中唐诗人“野水”写作传统的逐渐形成,幽远寻仙的峻险之趣,也伴随着“大物山水”的传统有所消歇,宋人萧散简淡静观自我的“野水”美学成为时代意趣。“野水”作为宋代小景山水传统写作中不可或缺的意象,其审美价值和意义不仅在于可游,更在于可居。“可游可居”作为野水此在性山水美学的具体展开,与“可行可望”的彼岸山水美学成为中国诗学的两大传统。它话语的多重生成背景和生命意蕴,不仅在于其自然平淡之趣、人格自由精神之适,也体现了诗人对精英中心集团的疏离,而荒寒无边之境与无始无终之我的未完成性遂成为野水之美的本质。

The aesthetics of“wild water”constructs one of the important turns of poetics in the Tang-Song period.The images on“wildness”began to increase since the Tang dynasty,and rose suddenly in the Song period,which marked the image change from great mountains and rivers to the small ones,and the aesthetics of“wild water”initiated by Du Fu became a kind of prevailing interest in the Song period which reflected the leisurely and plain feature of the Song people.The aesthetic value and meaning of wild water lies not only in that it can be visited,but also in it is livable.This approach,together with the landscape aesthetics of the other side,are two kinds of tradition of Chinese poetics.Besides the unaffected interest and free spirit,the image also reflects estrangement of the poets from elite group,and the unfinished character of boundless wilderness and endless ego thus constitute the essence of the beauty of wild water.