中国古代诗学“圆美”范畴经典化的两个向度

Two Dimensions of the Canonization of the Category of “Fullness Beauty” in Ancient Chinese Poetics

“圆美”是中国古代诗学的一个重要审美范畴,是南朝诗人谢朓提出的一个诗学审美概念,其始见于唐初李延寿所撰的《南史》中。宋代以降,圆美范畴基于自身的内在审美机制,在诗论家的概念诠释和理论建构中,走上了经典化之路,同时呈现出表象之维的尚文与内在之维的尚质这两个经典化向度。“圆美”范畴在古代诗学场域中经典化的两个向度之形成与发展固然与其本身的审美蕴涵与诗学价值息息相关,但在很大程度上则是学术文化思潮、社会主流价值观念、诗学批评话语权等诸多外缘因素促成的,也鲜明地体现出社会主流意识形态对诗学审美观念的渗透力度之深。

“Fullness Beauty”is an important aesthetic category of ancient Chinese poetics. It is a poetic aesthetic concept put forward by Xie Tiao,a poet of the Southern Dynasty. It was first seen in The History of the Southern Dynasty written by Li Yanshou in the early Tang Dynasty. Since the Song Dynasty,based on its own internal aesthetic mechanism,the category of Fullness Beauty had embarked on the road of canonization in the conceptual interpretation and theoretical construction of poetics. At the same time,it presented the two canonization dimensions of advocating formal beauty in the dimension of appearance and advocating intrinsic beauty in the dimension of internal. The formation and development of the category of“Fullness Beauty”in the two canonization dimensions in the field of ancient poetics were closely related to its own aesthetic implication and poetic value,but to a large extent,it was caused by many external factors,such as academic and cultural trends of thought,social mainstream values,the discourse power of poetic criticism and so on. It also clearly reflected that the mainstream ideology of society had a great penetration into the aesthetic concept of poetics.