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“兴象”始于唐代诗学,最初含义大体指向文学作品中表现出来的具有“兴”的特征的物象,但其更丰富的含义在唐代没有得到足够阐释。胡应麟在唐宋诗学基础上对“兴象”进行了创造性的阐释和运用:“兴象”既可指体现在客观世界的诗歌中的具体物象,还可指主观世界中超越物象的具有整体性美感的审美形象,这种理解全面提升了“兴象”的阐释空间,使“兴象”超越了殷璠提出时的原意,发展成为一个极具民族特色的诗学理论范畴;“兴象”可以从创作和鉴赏两个角度来观照;“兴象”既可品评唐诗,也可品评汉诗。“兴象”成为胡应麟建构诗学体系的关节性范畴,用以绾合其核心诗学观点——体制层面的辨体论、学习创作层面的“法、悟、化”理论和鉴赏层面的“体格声调,兴象风神”。胡应麟对“兴象”的阐释和运用对后世产生了重要影响。
“Xing Xiang ” began in the Tang Dynasty poetics. The initial meaning generally pointed to the “Xing” features shown in the literary works, but its richer meaning was not adequately explained in the Tang Dynasty. On the basis of the Tang and Song poetics, Hu Yinglin creatively explained and applied “Xing Xiang”: “Xing Xiang” can refer to both the concrete objects and objects in the objective world, as well as the transcendental objects in the subjective world The aesthetic image has the aesthetic integrity. This kind of understanding enhances the interpretation space of “Xing Xiang” in an all-round way and makes “Xing Xiang” beyond the original intention when Yin Yin was proposed and developed into a poetics with national characteristics Theoretical category; “Xing Xiang” can be viewed from two angles: creation and appreciation; “Xing Xiang ” became the joint category of Hu Yinglin’s construction of poetics system, in order to coincide with his core poetic point of view - the theory of discrimination, the theory of “law, understanding, transformation” at the institutional level and Appreciation level “physical tone, like Xiang Fengshen ”. Hu Yinglin’s interpretation and use of “Xing Xiang” had an important impact on future generations.