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古人对山水的审美观照态度和能力,早在《诗经》时代即已具备。但诗、骚对山水审美的文学表现,均还显示了某种片断性和附属于抒情需要的特点。宋玉《高唐赋》第一次将自然界的“山水”作为整篇赋作的表现主体和中心,并以宏伟的整体布局和多层次描绘,创造了“蔚如雕画”的奇境,成为先秦“山水审美”文学中具有突破意义的作品,标志着中国古代“山水审美”文学表现的成熟。先秦的山水审美表现,之所以首先在“赋”体中(而不是在“诗”体中)走向成熟,与古人对诗、赋不同文体的表现功能和特征的认识、对作赋才能的重视以及宋玉自身的创造才华有关。
The ancient people’s aesthetic attitude toward landscapes and their ability as early as the “Book of Songs” era already have. However, the poetic and scholar’s literary performance of the aesthetic landscape also shows some fragmentary and appealing characteristics of lyricism. For the first time, Song Yu “Gaotang Fu” regards the “landscape” of nature as the main body and center of expression for the whole story, and creates the “Wei Wei carving painting” with grand overall layout and multi-level painting. And became a breakthrough work in the pre-Qin “landscape aesthetic ” literature, marking the maturity of literary performance in ancient China. The aesthetic performance of the landscape in the pre-Qin period first matures in “Fu ” body (rather than in the “poem ” body), and the ancient people’s understanding of the functions and features of the performance of poems and fuses of different styles, Emphasis on talent as well as Song Yu’s own creative talent.