“诗中有画”与王维诗史定位之起伏  

"Picture-evoking Poetry" and Rise and Fall of Wang Wei's Place in the History of Chinese Poetry

作　　者：袁晓薇[1] 

机构地区：[1]合肥师范学院中文系,安徽合肥230061

出　　处：《陕西师范大学学报（哲学社会科学版）》2011年第3期133-138,共6页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：安徽省教育厅人文社会科学重点研究项目(2010sk289zd)

摘　　要："诗中有画"这一经典命题的提出对于王维诗歌接受史来说具有双重意义:虽然对扩大王维的文化影响和深入体认王维诗歌艺术特征来说是一大进步,然而这种审美阐发加深并强化了王维诗歌与传统诗教之间的隔膜和疏离,因此在以伦理政教为中心的主流诗学中并没有起到提高王维诗歌地位的实际作用,反而致使其与传统诗学典范标准之间拉开了越来越大的距离。The establishment of the classic subject ＂picture-evoking poetry＂ possesses a double significance to the reception history of Wang Wei＇ s poetry. The subject did mark a great progress to expanding Wang＇ s cultural influence and deeply understand the features of his art of poetry writing. Meanwhile, however, it intensified and deepened estrangement and alienation between traditional poetic theory and Wang＇ s poetry. Hence a farther and farther distance between Wang＇ s poetry and traditional poetic model standards.

关 键 词：诗中有画 王维 诗学典范 诗歌接受史 唐代文学 

分 类 号：I207.22[文学—中国文学]