浅谈意境论与老庄学说  

On Artistic Conception and the Theory of Lao-tzu and Chuang-tzu

作　　者：吴晓梅[1] 

机构地区：[1]昆明大学社会科学系,云南昆明650118

出　　处：《文山师范高等专科学校学报》2005年第1期50-52,共3页Journal of Wenshan Teachers College

摘　　要：归总前人的研究,以情景交融、物我合一、通过外在真实的形式和存在来追求无限的意蕴,追求余味无穷中的虚静之境为最高境界的诗歌被评说为有意境。在对中国古代意境的探求中不难发现老庄思想的影响痕迹,具体体现在:道家对“化同于大道”的“天人合一”的境界的追求;对“道”的本真只能感悟,不可言说的理解;通过“心斋”、“坐忘”、“神遇”、“意至”达到的虚静的“道”的最高境界三个方面。可以说在漫长的文学发展过程中,中国传统文人在把“道”作为个体精神修养的标准和方式的同时。Summarizing the study of former rasearchers, poems with the fusion of the feelings and the natural setting, with the unity of nature and man, and the poems which think of the pursuit of boundless implication and a lasting and pleasant pure serenity by the real visible form and existence as the supreme realm of thought are considered as the poems with artistic conception. It is easy to find the influence of the thoughts of Lao - tzu and Chuang - tzu on the ancient Chinese＇ s pursuit for inner meaning. It shows as the following three aspects： the Taoists＇ pursuit for the theory that man is an integral part of nature; the comprehension of the truth of Tao, namely, it is only can be realized not be conveyed in words; and the pure serenity, the supreme realm of thought of Tao which attained by＂xinzhai＂, ＂zuowang＂, ＂shenyu＂ and＂yizhi＂. It is can be said that in the long process of the development of Chinese literature, the traditional scholars saw Tao as the standard and way of the individual spiritual accomplishment and meanwhile it is specified as the pursuit for artistic mood in literature.

关 键 词：意境 道家思想 有限的形式和无限的意蕴 虚静 神遇 

分 类 号：I207.22[文学—中国文学]