“桃源”镜像的圆融与疏隔——从东篱、辋川到石湖  

On the Harmong and Esfrangement of the Peach-Blossom-Source Image:From Dongli and Wangchuan to Shihu Lake

作　　者：邹祥平[1] 

机构地区：[1]苏州卫生职业技术学院基础部,江苏苏州215009

出　　处：《苏州教育学院学报》2013年第3期37-38,41,共3页Journal of Suzhou College of Education

基　　金：江苏省教育厅高校哲学社会科学研究基金项目(2012SJB880073)

摘　　要：文学是生活的镜像,生活是文学的物像。"桃源"作为一种独特的文学镜像,在不同时代、不同作家的隐逸生活与文学创作中,对应着不同的现实物像,如陶渊明的"东篱"、王维的"辋川"、范成大的"石湖"等。但由于原初意义上的"桃源"镜像的独特性在于隐逸而不失人间情怀,因此陶渊明的"东篱"、范成大的"石湖"与"桃源"镜像之间呈现出圆融的美学特征;而王维则由于晚年身心枯寂,缺乏完全投入的人间情怀,故"辋川"与"桃源"镜像之间便有所疏隔。Literature is an image of life, and life is the source of literature. As a unique image in liferature, ＂Peach-Blossom＂ reflects different real life sources in different authors＇ writings in different times, such as Tao Yuanming＇s Dongli, Wang Wei＇s Wangchuan and Fan Chengda＇s Shihu Lake. Originally, the hidden ＂Peach- Blossom-Source＂ exists in the real world, which is full of human feelings Therefore, Tao＇s East-Hedge and Fan＇s Shihu Lake bear aesthetic harmony of＂Peach-Blossom-Source＂,while Wang＇s Wangchuan estranges from ＂Peach-Blossom-Source＂ owing to his loneliness and lack of human feelings in his later life.

关 键 词：陶渊明 王维 范成大 镜像 物像 圆融 疏隔 

分 类 号：I207.22[文学—中国文学]