出处与山水:从谢安到谢朓  

Chuchu and Landscape:From Xie An to Xie Tiao

作　　者：李昌舒[1] 

机构地区：[1]南京大学文学院

出　　处：《南京师大学报（社会科学版）》2013年第5期129-137,共9页Journal of Nanjing Normal University(Social Science Edition)

基　　金：国家社科基金项目(10CZX053)中期成果

摘　　要：南朝时期,山水自然作为独立的审美形象进入文艺作品中,对于其原因,历来论者多有涉及。如果从陈郡谢氏的角度,选取东晋谢安、晋宋谢灵运及萧齐的谢朓为对象,探讨出处问题与山水发现的内在联系,就会发现:谢安不仅藉山水以享乐,也借山水以化郁结;谢灵运在山水中体悟玄理,为声色大开奠定基础;谢朓则在官舍郡斋中,在宦游旅途中,将山水融入日常生活中,山水最终成为官场中人的逃遁之地。Abstract： Landscape began to appear as an independent aesthetic image in the literary works in the Southern Dynasties. On the cause for this literary phenomenon, many theorists have offered their opinions. This paper tries to explore the inner link between chuchu （出处, seeking official positions or withdrawing from such positions） and enjoying the landscape through observing the cases of three Xies （ i. e. Xie An, Xie Lingyun and Xie Tiao） in the Chen prefecture. First, Xie An had a life of pleasure, resolving his pain through enjoying the beautiful landscape; Xie Lingyun developed his philosophy out of the landscape, thus laying a foundation for the thriving of the theme of scenery in poetry. Xie Tiao integrated the joy brought about by the government. The landscape ultimately became a pains of living a nasty life. landscape into his everyday life when serving in the spiritual refuge for government officials against their

关 键 词：出处 山水 谢安 谢灵运 谢朓 

分 类 号：I209[文学—中国文学]