严羽以江西诗派的反叛者自居 ,并宣称不傍人篱壁。本文从二者有关艺术品格修养的论述入手进行考察比较 ,勾勒严羽对江西诗派总体精神的继承与局部因子的新变 :首先 ,二者皆强调“以识为主” ,并依此对接受本文作出规范 ,但江西派提学诗始自《三百》 ,表现出对儒学的依附 ,而严羽则倡始于楚辞 ,显得比江西派返归诗歌本体更自觉更彻底 ;江西派倡转益多师 ,严羽谓“以盛唐为法” ,从诗学价值和接受效果看 ,二者各有所赢。其次 ,严羽承江西派强调“悟入” ,但进一步赋予“妙悟”以“本色”、“当行” ,因而超越了前者。最后严羽继承江西派忌俗的精神内核 ,但江西派更多地从诗人的精神世界和作品的思想领域着眼 ,严羽则广泛推及艺术层面各要素。 Yan Yu himself as a rebel in Jiangxi Poetry School, and declared not to edge people. This essay starts from the expositions on the cultivation of artistic qualities in the two chapters, compares and outlines Yanyu’s new inheritance of the overall spirit of Jiangxi poetry schools and the new changes in the local factors. First of all, both emphasize “knowledge-based” Accepting this article to make a standard, but Jiangxi sent school to teach the poem from “three hundred”, showing Confucianism dependence, and Yan Yu advocated in the Chu Ci, Jiangxi sent back to the poetic body more consciously and thoroughly; There are more masters in the transfer of benefits, and Yan Yu said “taking the Tang Dynasty as the law” and judging from the poetic value and accepting effect, both have their own win. Second, Yan Yucheng’s Jiangxi School emphasizes “enlightenment”. However, further giving “magical consciousness” to “nature” and “deserving to go”, it surpasses the former. In the end, Yan Yu inherited the spirit of criticism of Jurisprudence in Jiangxi. However, Jiang Xi sent more attention to the poet’s spiritual world and the ideological field of his works. Yan Yu broadly promoted all the elements of the art.