试论《诗经》中所蕴涵的古典生态存在论审美意识  

A Tentative Discussion on the Aesthetic Awareness of Classical Ecological Existentialism in Book of Songs

作　　者：曾繁仁[1] 

机构地区：[1]山东大学文艺美学研究中心,山东济南250100

出　　处：《陕西师范大学学报（哲学社会科学版）》2006年第6期51-60,共10页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

摘　　要：对于当代生态存在论审美观探讨的重要途径之一,就是对于某些经典的审美解读,而《诗经》产生于3000多年前,是我国先民对于“天人之和”的审美诉求,其核心内涵是“与天地同和”之“志”。《诗经》的古典生态存在论思想体现在包含生态人文内涵的风体诗、反映初民本真爱情的“桑间濮上”诗、建立在古代生态平等之上的比兴手法与对于生于斯养于斯之家园怀念的“怀归”诗等方面,由此表现出我国古典生态存在论美学思想所特有的“诗体”、“诗意”与“诗法”,说明《诗经》在建设当代生态存在论审美观之中的重要作用与“实践美学”的理论局限。Written more 3000 years ago, the Book of Songs expressed our ancestry＇ s aesthetic pursuit of ＂harmony between heaven and men＂, the basic idea of which was a ＂longing＂ to be ＂in harmony with heaven and land＂. The classical ecological existential orientation was embodied in those poems of Feng style which contained ecological humanities, including the poems of ＂Pushang in the mulberry shade＂ which described the true love of the early people, the craftsmanship of analogy and association on the basis of ecological equality in ancient times, and the poems of ＂remembering the past time＂ which expressed the early people＇ s reminiscence of their homeland. These particular ＂poetic styles＂, ＂poetic moods＂ and ＂poetic devices＂ representing an aesthetic mind of classical ecological existentialism show both the important part of this classical thought in developing a contemporary aesthetic view of ecological existentialism and its theoretical limitations in terms of ＂practical aesthetics＂.

关 键 词：生态存在论审美观 《诗经》 天人之和 风体诗 比兴手法 

分 类 号：I222.2[文学—中国文学]