工笔于“扇”上的文心与情采——浅析空间视域下的何其芳散文集《画梦录》

Literary Heart and Flowery Diction on the “Fan”:Interpretation of He Qifang’s Dream of Paintings from the Perspective of Spatial Theory

《画梦录》作为何其芳早期诗性散文的精心创制,辞采瑰丽、意象梦幻,糅合东西诗意,精致圆融,开五四以来纯美散文之新风。其超达深渊亦可视为20世纪三四十年代京派散文之最高峰。然而,以往对《画梦录》的文学艺术品评,多半流于直觉印象式的传统诗文鉴赏套路,难免落入指摘丽句清辞的窠臼。20世纪末,学界出现的'空间转向'(Space Turn),即当代思想文化范式向空间维度的转型,为我们重新审视文学艺术文本提供了新的视角。本文试图借用空间理论,重新观照《画梦录》文本的审美特质,发现其精致绝伦、历久弥新的艺术魅力,与作者于文本中通过诗性意象的选择推送、意境的述受交互,进而融构现代性的空间化审美经验休戚相关。

He Qifang’s Dream of Paintings initiated the genre of the socalled pure prose works after the May Fourth Movement by its flowery diction,fantastic imagery,and artful integration of the Eastern and Western aesthetics.Different from the common practice of evaluating his works in the line of undue emphasis on the poetic use of words,we apply the contemporary implications of cultural space in this article so much so as the Space Turn in literary criticism affords to interpret the dynamics of cultural space.We find that He’s unique use and interactions of spatial imagery largely attribute to the special aesthetical qualities in Dream of Paintings.