师法自然的自由创作——对“诚斋体”之“自然”特质的深层阐析  

A further Analysis of the Natural characteristics of the Chengzhai Style poems

作　　者：熊海英[1] 

机构地区：[1]江汉大学人文学院,湖北武汉430056

出　　处：《中南大学学报（社会科学版）》2012年第3期227-230,共4页Journal of Central South University：Social Sciences

基　　金：国家社科基金"士阶层分化与南宋文学生态之新变"资助项目(11BZW051)

摘　　要：以江西派为代表的宋诗着力表现人文意象和主观世界,改变了唐诗的审美范式。南宋杨万里则把诗笔重新转向自然,并重视在创作中保持和表现性灵本真;他摒弃写作成法、惯用语言及传统意象固有内涵,用自己的语言和方式表达对自然的直接印象,描画和传递各种未经人道、难以言传的新鲜情景与趣味。"诚斋体"打破成法的自由创作精神引领了南宋中后期的诗歌新变潮流。Song Poetry, which was represented by Jiangxi Poetical School, had changed the aesthetic paradigm of Tang Poetry, in the aspects of keeping sentiment and scenary in harmony, as well as balancing subject and object, which focused on humanistic image and subjective world. The Chengzhai Style, created by the poet Yang Wanli of the Southern Song Dynasty, turned to focus on the nature again. He stressed that nature needed to be kept and showcased in creative work. He broke through his former writing method, habitual words as well as traditional images. Instead, he used his own words and ways to express the direct impression of the nature, depict and conveying kinds of indescribably interesting scenes. The natural particularity of Chengzhai Style had a comparatively important impact on the transformation of the Southern Song Poetry.

关 键 词：南宋 江西诗派 杨万里 诚斋体 自然 

分 类 号：I207.22[文学—中国文学]