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方东树借鉴前人观点,提出了以妙、力、气三者鼎立论诗的审美论。集中在唐诗上,较前人创新之处在于将抽象而难以名状的诗之妙,落实在具体的起棱、汁浆、兴象三点,是为首创,以此三点作为支撑呈现出精妙的审美特色。方氏论唐诗之力则着眼于用力简省,同时具有雄健之美,最终归于无用力痕迹之境。方东树以气论诗继承并改进“神气”说,主张以诗人才气入诗,又须以章法约束,首尾气韵贯注,并以音节入气。而妙、力、气三者互相作用才是方氏审美论的理想境界。
Fang Dongshu draws on the views of predecessors, put forward the aesthetic theory of the poetry with the wonderful, the force, and the gas. Focusing on the Tang poetry, the innovation of the predecessors lies in the fact that the abstract and indescribable poem of the poem is implemented in three specific points: the first point, the third point as the support The aesthetic characteristics. Fang’s theory of the power of the Tang poetry focuses on the effort to save the time, at the same time with the magnificent beauty, and ultimately attributed to no trace of the environment. Fang Dongshu inherited and improved “qi” by Qi Poetry, saying that advocating poet talent into poetry should be restrained by the rules and regulations, with a focus on both syllables and syllables. And wonderful, force, gas interaction between the three is the ideal of Fang’s aesthetic realm.