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历来学者探讨《文心雕龙·养气》篇主旨多从“气”的渊源与流变诸问题入手,围绕“气”的本体展开论述。其实刘勰对“气”的本体的相关论述已经从不同角度在《神思》、《体性》、《风骨》等篇中基本完成。《养气》篇主旨实则是将“养气”视为作家创作过程中一个不可或缺的阶段展开论述,强调的是作家创作之际要保养充沛的创作体能以达到并保持流畅的创作状态,重点在谈如何“养”气。
Historically, scholars have discussed the origin and rheology of the main motif of “Wen Xin Diao Long · Yang Qi” from the perspective of the origin and rheology of “Qi”, focusing on the ontology of Qi. In fact, the related discourse of Liu Qi on the ontology of Qi has basically been completed from different perspectives such as “God Thought”, “Sense” and “Feng Gu”. The main thrust of “Yang Qi” is that “Yang Yang” is regarded as an indispensable stage in the writer’s creation process. He emphasizes that when writing, the writer should maintain ample creative ability to achieve and maintain a smooth creative state, Focus on how “Yang ” gas.