王士祯“神韵”说时空蕴藉形成的历史脉络  

On the History of Time and Space Implication of Wang Shi-zhen's“Theory of Romantic Charm”

作　　者：刘新敖[1] 

机构地区：[1]湖南师范大学文学院,湖南长沙410008

出　　处：《中国文学研究》2014年第2期84-87,共4页Research of Chinese Literature

基　　金：湖南省哲学社会科学基金项目"中国古代文论空间意识的发生;建构及其流变研究"(11YBB070)的阶段性成果

摘　　要："神韵"作为批评范畴,在很大程度上强调的是诗之空间想象和时间蕴藉。唐宋以来确立的"文外之旨"、"言有尽而意无穷"的文艺批评法则树立了这种"神韵"说时空蕴藉的基本内涵。故此,王士祯"神韵"说之"远",其创作要求之"根底"和"兴会",其于审美风格之"冲淡"和"味",无不以传统诗论的超越之态为主线,在诗歌的外旋时空机制中寻求其审美人生之境。As a criticism category, ＂Theory of Romantic Charm＂ emphasize on poem＇s space imagination and time implication. The literary criticism rules from Tang and Song Dynasties such as ＂essence beyond flavor＂ and ＂Meaning beyond Words＂ set up the basic meaning of time and space implication. So, ＂Romantic Charm＂ such as＂remote＂, creation requirements such as ＂foundation and inspiration＂, aesthetic style such as ＂dilute＂ and ＂taste＂, all take traditional poetic theory＇s aesthetic transcendence as vital clue, seeking the aesthetic life in external rotation of space-time mechanism in poems.

关 键 词：“神韵”说 时间 空间 审美 王士祯 

分 类 号：I207.2[文学—中国文学]