摘要
中国古代诗学中意象与意境,究其实质是一种内视之美。而诗学以之作为审美价值标准的"言外之意""韵外之致",其产生的根源在于诗的内视之美。在笔者看来,这种内视之美,恰恰体现了文学的基本审美属性。宋代诗人梅尧臣所言"状难写之景,如在目前;含不尽之意,见于言外",前后之间有着内在的逻辑关系,"见于言外"是以"如在目前"为其前提的。严羽的"盛唐兴趣",王廷相的"意象透莹",王国维的"不隔"等等,都是内视之美的标举。从诗人创作的角度看,诗的内视之美在于经过主体的"拟容取心"而产生的圆融整一的意境,主体的知觉功能是最重要的因素。从诗的艺术媒介来说,诗人的内在构形是产生"言外之意"的基础。
Images and artistic conception in ancient Chinese poetics are in fact a beauty of inner-vision, which is the origin of what are seen as aesthetic standards： ＂yan wai zhi yi （lit. implication beyond words）＂ and ＂yun wai zhi zhi （lit. resonance beyond tone）＂. The beauty of inner-vision exactly reflects the basic aesthetic attributes of literature. Mei Yaochen, a poet in the Song Dynasty, says, ＂Depicting what is hard to depict as if before the eyes and expressing unlimited meaning beyond words. ＂ The inner logic for this sentence is that the former is the premise of the latter. Ideas such as ＂interest in the glorious age of Tang＂ by Yan Yu, ＂clear image＂ by Wang Tingxiang, ＂non-partition＂ by Wang Guowei etc. , are all examples of inner-vision beauty. In terms of poetic writing, the beauty of inner-vision relies on the integrated artistic conception created by the subject＇s imitation of appearance and capture of the essence, with perception playing a key role. In terms of artistic media, the inner configuration is the foundation of ＂implication beyond words＂.
作者
张晶
Zhang Jing(Ph.D. , is a professor and library director of Communication University of China （Beijing 100024, China)
出处
《文艺理论研究》
CSSCI
北大核心
2017年第1期58-66,共9页
Theoretical Studies in Literature and Art
关键词
如在目前
见于言外
内视之美
构形
＂as if before the eyes＂
＂seen beyond words＂
inner-vision beauty
configuration
