诗歌中所体现出的含蓄不尽的美学意味是构成诗歌意境的重要因素,也是为创作者与欣赏者所极度关注的审美效果。对此种审美价值的追求,有一个历史的形成过程,与“兴”紧密相关。“兴”的开放性使说诗者有着“引譬连类”的余地,“引譬连类”又与“主文而谲谏”共同扩大了这种开放性。经由六朝刘勰、钟嵘于理论上的进一步发扬,至唐代,这种审美追求完全具有了自觉性。 The subtle and esthetic meaning embodied in poetry is an important factor that constitutes the artistic conception of poetry and also the aesthetic effect that is extremely concerned by creators and appreciators. The pursuit of such aesthetic value, there is a historical formation process, and “Xing” is closely related. The openness of “Xing” makes the poet have room for “quoting and classifying”, and “quoting and classifying” together with “the main text and remonstrance” jointly expands this kind of openness. Through Liu Liu and Zhong Rong in the Six Dynasties, they were further developed theoretically. By the Tang Dynasty, this kind of aesthetic pursuit was fully conscious.