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意境是中国古典诗学和文艺美学的核心范畴。刘勰《文心雕龙》对意境的研究起着承上启下的作用,唐人论述多将意与境分开,而王昌龄诗论正式提出意境说。中国古人往往执其一端论者多,合者为少,是与审视意境的庞杂思想来源密切相关的。以后经朱光潜、宗白华、钱钟书等先生的现代阐释,意境才作为一个整体概念最终固定下来,他们的阐释完好地照顾到两个层面的内涵,既具有宽广的包容性,又有精深的独特性。
Artistic conception is the core category of Chinese classical poetics and literary aesthetics. Liu Xie’s “Literary Mind and Carving of Dragons” plays an important role in the study of artistic conception. The majority of the Tang people’s discussion of the artistic conception will be separated from the artistic conception, while Wang Changling’s poetic theory formally proposed the artistic conception. Chinese ancients tend to hold more of their viewers at one end, with fewer co-occurrences, which are closely related to the complicated sources of thinking that examine the artistic conception. After the modern interpretation of Zhu Guangqian, Zong Baihua, Qian Zhongshu and other gentlemen, the artistic conception was finally fixed as a whole concept. Their interpretations took good care of the connotation of the two levels, which were both broad inclusive and profound Uniqueness