“神”:杜甫诗论中的重要美学范畴  

"Inspiration":An Important Aesthetic Catalogue in Du Fu's Theory of Poetry Creation

作　　者：李天道[1] 

机构地区：[1]四川师范大学文学院,四川成都610068

出　　处：《绵阳师范学院学报》2009年第1期1-4,13,共5页Journal of Mianyang Teachers＇ College

摘　　要：杜甫的诗歌理论推崇"神"这一审美范畴,"神"既体现出诗歌审美创作是诗人对审美对象进行心灵化加工的主客体双向异质同构的精神活动,同时,又规定着诗歌作品审美意境的创构应以"有神"为最高境界。在杜甫看来,只有达到"有神"、"神妙"的作品,才是艺术杰作,因此,他把是否创构出"有神"、"神妙"审美境界作为作品艺术成就高下的重要标准。"有神"、"神妙"、"神",体现了杜甫的审美意趣与审美追求。In his theory of poetry creation, Du Fu worshiped inspired writing, a catalogue in aesthetics, which does not only suit in his creation. spired lines. Thus, And the author has reflect his spiritual activities on the aesthetic In his view points, a piece of poem can be object but also stands for the highest artistic purregarded as a masterpiece only when it is full of inone of the important standards of his poem creation is the inspired context created by the poet. also concluded that Du Fu＇s aesthetic orientation and pursuit lie in whether the poem lines are full of inspiration, inspired style, and inspired words to express certain unsaying meanings.

关 键 词：杜甫诗论 神 有神 神妙 神应意会 以形传神 

分 类 号：I01[文学—文学理论]