摘要
初唐大儒孔颖达是最早将“象”引入诗学领域并建立象论话语体系的理论家。孔颖达援《易》入《诗》,在易象世界观的基础上建立了兴象论的诗学体系,同时根据易学的象、意观念确立了比兴之诗的理解方法论。在汉魏以来玄学炽盛、文风虚浮的背景下,孔颖达援《易》入《诗》的目的是在“以物象而明人事”的易学指引下,恢复诗歌的社会实践性话语品格。在诗经学史上,孔颖达诗学极大提升了汉代比兴学说的理论品格与阐释力,同时也促进了象、意之间关系的松动,后来宋人提出“无甚义理之兴”,乃是一个合逻辑的发展过程。在古代意境美学史上,正是经过孔颖达对易象哲学的诗学转换,以象论诗得以在唐代逐渐流行开来,并成为中国古代诗歌批评的一种主要话语方式。
Kong Yingda,a great Confucian scholar of the early Tang Dynasty,was the first theorist to introduce“image”(Xiang)into poetics,thus establishing an image-based discourse system.By incorporating concepts in The Book of Change into The Book of Songs,Kong Yingda established a poetics system of analogy based on the worldview of the image of trigrams in the study of Change,and also established a methodological approach to understanding aesthetic images through Xiang and Yi in the study of Change.In the context of the prevailing metaphysical thought and the prevalence of an empty literary style since the Han and Wei Dynasties,Kong Yingda sought to restore the practical discourse character of poetry,guided by the principle in Change that“understanding human affairs through the imagery of objects”.In the history of the study of The Book of Songs,Kong Yingda's poetics greatly enhanced the theoretical quality and interpretive power of“analogy and association”in the Han Dynasty,and also loosened the relationship between Xiang and Yi.The later proposition by the Song scholars of“verses with no apparent meaning or sense”was a logical development of this process.In the history of ancient aesthetic theory of artistic conception,it was through Kong Yingda's poetic transformation of the philosophy of image of trigrams that the poetics of Xiang gradually became popular in the Tang Dynasty and became a major discourse mode in ancient Chinese poetry criticism.
出处
《中原文化研究》
2025年第3期94-101,共8页
The Central Plains Culture Research
基金
国家社会科学基金一般项目“《毛诗正义》经学文艺思想研究”(17CZW001)。
关键词
易象
兴象
比兴
《毛诗正义》
image of trigrams
aesthetic image
analogy
Maoshi Zhengyi
