殷璠“诗笔双美”论析--以陶翰评论为中心  

On "Aesthetic Perception of Poetries and Essays" from Yin Fan——Centering on the Comments on Tao Han

作　　者：左杨[1] 

机构地区：[1]中国社会科学院研究生院

出　　处：《中国社会科学院研究生院学报》2011年第2期90-95,共6页Journal of Graduate School of Chinese Academy of Social Sciences

摘　　要：作为唐人选唐诗的一种,《河岳英灵集》在中国文学批评史上具有突出的地位。在该书所选入的24位诗人中,陶翰是惟一被誉为"风骨"、"兴象"兼备的诗人,也是惟一被提及"笔"之范畴的诗人。这说明他理应在《河岳英灵集》以及盛唐诗坛上具有重要的地位,而现今学术界对于陶翰的个案研究还相对较少。应通过对文本的细读来讨论《河岳英灵集》,评价其"诗笔双美"的内涵,从而进一步确认陶翰在唐代文学史中的重要地位。Abs As the anthology of Tang poetry chosen by people in Tang Dynasty, ＂He Yue Ying Ling Anthology＂ has a prominent position in the history of Chinese literary criticism. Among the 24 poets in ＂He Yue Ying Ling Anthology＂, Tao Han is not only considered as having both ＂wind and bone＂ and ＂stir and image＂ in his articles, but is the only one mentioned of ＂writing＂ which does not include poetry as well. This proves that he has great significance in ＂He Yue Ying Ling Anthology＂ and in the history of poetry of Tang Dynas- ty. But there are few studies on Tao Han＇s articles in the academic circles nowadays. This paper will study Tao Han＇s poetries combining with his essays. By means of close reading on the text, the connotation about aesthetic perception of poetries and essays is to be discussed, thus further proves the significance of Tao Han in the literature history of Tang Dynasty.

关 键 词：风骨 《河岳英灵集》 诗笔双美 陶翰 兴象 

分 类 号：I206.2[文学—中国文学]