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在诗学的根本精神上王维沿袭绮丽一路 ,其山水诗胎脱谢诗的痕迹较为明显。但是 ,王维兼融性情和声色而超越原始性摹写格局 ,形成了较谢山水实写模式和清丽风格更为完美的空灵蕴藉的诗美形态。古人以清水芙蓉的审美判断形象而精彩地表述了同一审美大范畴里的两种诗美范型的精微区别 ,我们则从芙蓉喻论的文化语义和美学内涵的阐释入手而窥谢、王山水 ,考察各自的诗美特征及其生成的社会、文化背景和主体因素
In the fundamental spirit of poetics, Wang Wei followed the beautiful path along with its traces of Xie Shishi’s poem landscape poetry more obvious. However, Wang Wei’s blending of temperament and sensuality transcends the original copywriting pattern, forming a form of poem and beauty that is more perfect than the realistic writing style of the landscape and the elegant style of the elegant style. The ancients used the water-filled lotus’s aesthetic judgment image to describe the subtle difference between the two kinds of poem-beauty paradigms in the same aesthetic category. Let’s take a peek at the interpretation of the cultural semantics and aesthetics of the hibiscus metaphysics. Wang Shanshui , Examining their own poetic beauty characteristics and its resulting social, cultural background and the main factors