司空图《二十四诗品》的批评特色和审美风格

Critical Features and Aesthetic Style of Sikongtu’s Twenty-Four Moods of Poetry

司空图《二十四诗品》继承钟嵘《诗品》、杜甫《戏为六绝句》等前人批评方式,文辞自然清新却又意境悠远,其本质可以视为一种“以诗论诗”的批评方式。正因为是“以诗论诗”,作品本身也是诗作,于是意象跌出,引譬连类,将“拟象批评”这一批评方法运用到了极致,借用各类意象创造出“不着一字,尽得风流”的审美世界。这种审美世界的打造离不开《庄子》语汇的使用以及司空图对道家美学的追求,其作品也创造了清淡自然、含蓄朦胧的诗美世界。

The Twenty-four Moods of Poetry by Si Kongtu(837-907)inherits the criticism methods of his predecessors,such as Zhong Rong’s Grandes of Poetry and Du Fu’s Six Playful Quatrains,in a natural and fresh manner,yet with a far-reaching meaning.The work itself is also a poem,so the imagery falls out and analogies are drawn,taking the critical method of“pictorial criticism”to the extreme,using all kinds of imagery to create an aesthetic world where“without a single word,one can achieve all meanings behind the words”.The aesthetic world is created by the use of various types of imagery.Despite the fact Si Kongtu is a Buddhist monk,he uses Zhuangzi’s vocabulary in his works and pursuits of Taoist aesthetics,which are essential to creating this aesthetic world,and his works create a poetic and beautiful world of lightness and naturalness,with subtlety and haziness.