摘要
我国古代早在韩愈之前已经形成了两种不同的文道观:一是重道轻文的儒家文道观,它所说的道只局限于儒家之道;另一是刘勰《文心雕龙》的文道观,它对道的理解不囿于儒家之见,指的是自然之道,并重视文的能动作用及其审美特点。到了宋代,苏轼继承和发展了《文心雕龙》的文道观,并结合自己的艺术实践,对文艺的规律和审美特点作了深入系统的阐述和探索,贡献巨大,应予肯定。
As early as before the days of Han Yu(A.D.768824),two different ideas of there lationship between Wen(writing) and Tao(philosophical and moral principles of a text) had come into being in ancient China, one of which held by Confucian School that values Tao more than Wen;the other held by Liu Xie,in whose masterpiece Carving a Dragon at the Core of Literature,it meant by Tao natural law other than only Confucian philosophical and moral principles and put more importance on the dynamic role of Wen and its specific aesthetics.Down to the Song Dynasty(A.D.960-1270),Su Shi inherited and developed the idea of Liu Xie.With his own literary practice he made a thoroughgoing and systematic exposition and exploration of the law of literature and art.This great contribution of Su Shi is undeniable.
出处
《华南师范大学学报（社会科学版）》
CSSCI
北大核心
2005年第4期49-56,共8页
Journal of South China Normal University：Social Science Edition
