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对山水诗所涉自然美的性质与意义,美学界一直存在分歧,显示了哲学与艺术学的冲突。但是,以孟浩然为代表,山水诗表现为哲学与艺术合为一体的独特话语方式,兼具理论品质和人居理想。首先,在叙事观念上,根据“言-象-意”结构系统理论,山水诗就是一种哲理的表达方式,我们不能用现代学科分工眼光把山水诗当作哲学之外的单纯的文艺作品,再借助所谓的哲学去解读其中的思想内涵。其次,在叙事方式上,以孟浩然为代表的山水诗没有简单地突显心灵化的山水世界,而是注重描绘现实的山水环境,善于通过环境意象叙事尤其是山水意象叙事来表达对人类与自然世界本质的认识,淡化了理论思辨与感性审美的冲突,兼容了思辨逻辑与审美逻辑。再者,在叙事主题上,以孟浩然为代表的山水诗传递了浓厚的日常生活气息,体现了热爱故土、穿行城乡的山水人居意识,展示了独特的乡土情结、自然趣味、人生境界,堪称知性的山水人居经验系统。
The nature and significance of the natural beauty involved in landscape poetry, the aesthetic community has always been divided, showing the conflict between philosophy and art. However, with Meng Haoran as the representative, landscape poetry presents a unique discourse combining philosophy and art, which combines both theoretical quality and humanistic ideal. First of all, on the narrative conception, according to “language - image - meaning ” structural system theory, landscape poetry is a kind of philosophical expression, we can not regard the landscape poem as the simple art beyond philosophy Works, and then use the so-called philosophy to interpret the ideological content. Secondly, in the way of narration, the landscape poem represented by Meng Haoran does not simply highlight the landscape of the landscape, but focuses on depicting the realistic landscape, and is good at expressing to the human and the natural world through the narration of the environmental imagery, especially the landscape imagery Essence of understanding, weakening the conflict between theoretical speculation and perceptual aesthetics, compatible with the logic of speculative and aesthetic logic. Furthermore, on the subject of narration, the landscape poem represented by Meng Haoran conveys a strong atmosphere of everyday life, reflecting the love of the native land and the landscape consciousness of living in urban and rural areas, demonstrating unique native sentiment, natural taste and realm of life, Knowledgeable landscape habitat experience system.