摘要
诗话中的“疏野”之境,是一种“天放”境界,与中华古典文化中“野”的概念发展紧密相关。在传统文化中,庄子、孟子、荀子以及《吕氏春秋》对“野”都有过阐释,嵇康、陶渊明、苏轼等在诗歌中对“野”趣都有过创作实践,这些都推动了“疏野”诗学的发展。晚唐诗论家司空图以人的生存状态来彰显“疏野”的诗学理念,将生存与疏野加以诗性融合,并影响到明清诗书画的艺术境界。
“The wild state”in notes on poets and poetry is a state of“natural freedom”,which is closely related to the development of the concept of“wild”in classical Chinese culture.In traditional culture,Zhuangzi,Mencius,Xunzi and Lv’s Spring and Autumn have all explained the concept of“wild”,and famous writers like Ji Kang,Tao Yuanming and Su Shi have practiced the interests of“the wild state”in their poetry creation,which has promoted the development of poetics.Sikong Tu,a theorist of poetics in the late Tang Dynasty,manifested the poetic concept of“the wild state”,blended the existence of life and the natural freedom poetically,and affected artistic realms of poetry,calligraphy and painting in the Ming and Qing dynasties.
出处
《中国文艺评论》
CSSCI
2023年第4期36-47,I0002,共13页
China Literature and Art Criticism
关键词
疏野
天放
诗学
the wild man
the wild state
natural freedom
