张三丰诗歌“灵性”说及其与明代“性灵”说之关系

The Theory of“Spirituality”in Zhang Sanfeng’s Poems and Its Relationship with the Theory of“Spirit”in Ming Dynasty

张三丰诗歌"灵性"说以道家道教本体论哲学为指导,将诗歌的产生归之于诗人客观存在的心灵或灵性之流露,不同于传统儒学"诗言志"观从义理上对诗所做的阐释,通过对吕洞宾、韩湘子和苏轼、邵雍分别代表的道、儒诗人诗作的验证,圆通了自己的诗歌灵性说,并进一步设计了诗歌灵性流露的多种方法原则。不仅如此,他对于"灵性"的语汇称谓及其文学意趣诉求与审美追求,与中晚明"性灵"诗学存在着一定逻辑关系。因此,张三丰诗歌"灵性"说在我国诗学史上具有重要意义。

Under the guidance of Taoist ontological philosophy,Zhang Sanfeng’s theory of“spirituality”in poetry attributes the emergence of poetry to the revelation of the poet’s objective mind or spirituality,which is different from the interpretation of poetry by the traditional Confucian view of“Poetry expressing aspirations”.Through the verification of the poems of Taoist and Confucian poets represented by Lv Dongbin,Han Xiangzi,Su Shi and Shao Yong,we can understand the spirituality of his poetry.And it further designed a variety of methods and principles for the spiritual expression of poetry.Moreover,his lexical appellation of“spirituality”and his demand for literary interest and aesthetic pursuit have a certain logical relationship with the poetics of“spirit”in the middle and late Ming Dynasty.Therefore,the theory of“spirituality”in Zhang Sanfeng’s poetry is of great significance in the history of Chinese poetics.