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《礼记.乐记》明确提出了“感物而动”这一命题,论述了客观世界对作者产生“感发”作用的理论。《文心雕龙》继承并发展了这一“感物而动”的思想;然而,它更进一步揭示了文艺创作发生过程中“物”与“心”的“双向互动”关系.从“感物而动”到“心物交会”。关于文艺创作发生的理论得到了更为全面、深刻的阐释。《文心雕龙.物色》篇集中探讨了创作发生过程中“物”与“心”的关系,也讨论了描写物象方面“情貌无遗”的要求,而贯穿全篇的主线便是“心物交会”。这正是中国古代文艺美学创作发生论的重要特点所在。
“Book of Rites.” Yue Bi clearly put forward the proposition of “moving objects and touching things”, expounding the theory that the objective world has a “sensual” effect on the author. “Wen Xin Diao Long” inherited and developed this idea of “moving things by feeling”; however, it further revealed the “two-way interaction” between “things” and “hearts” in the process of literary and artistic creation. Things move “to” heart fair. “ The theory of literary and artistic creation has been more comprehensive and profound interpretation. The Literary Mind and Carving Dragons. The Coloring is a collection of articles that focus on the relationship between ”things“ and ”hearts“ in the process of creation. They also discuss the requirement of ”feeling intact“ in depicting objects and images, and the ” Fair. " This is exactly the important characteristic of the theory of the creation of ancient Chinese literary aesthetics.