阴阳同构与中国词学的基本精神  

On the Iconicity of Yin and Yang and the Principal Spirits of Chinese Poetry

作　　者：孙艳红[1] SUN Yan-hong(School ol Chinese Literature,Jilin Normal University,Siping 136000, China)

机构地区：[1]吉林师范大学文学院,吉林四平136000

出　　处：《哈尔滨工业大学学报（社会科学版）》2018年第3期67-73,共7页Journal of Harbin Institute of Technology(Social Sciences Edition)

摘　　要：中国传统文化融会贯通、互相渗透,甚至于文史哲融为一体。中国哲学的阴阳观念促成了中国诗学的和谐精神,更是词本体具有女性化特征的最好诠释。阴阳同构、阴阳互生深植于中国古代文人的心灵深处,形成了中国文人"贵阴尚柔"的审美心理和多重文化人格。由于宋代特殊的政治文化环境,"双性同体"现象在宋代词人身上表现明显。宋代男性词人代女性立言,又借助"香草美人"的比兴寄托手法,使词的女性化特征一直涵纳在词本体之内,阴柔艳美的风格弥漫于宋代词坛。这不单是词体文学的勃兴,更是中国传统文化兼容并济、互通共融的有力呈现。The traditional Chinese culture is characterized by integration,interpenetration and even merge of literature,history and philosophy. The philosophical ideology of yin and yang has contributed to the harmonious spirits of Chinese poetry and it is the best explanation of the female characteristics that the poetry itself has. The iconicity and co-creation of yin and yang were deeply rooted in the inner hearts of the ancient Chinese literary scholars and formed their aesthetic psychology of the advocations of feminism and multi-cultural personalities. Because of the special political and cultural environments in the Song Dynasty,the phenomenon of androgyny was obviously reflected in the poets. For example,some male poets sometimes spoke for the women. And,with the aid of the sustenance of depicting ＂the vanilla beauty＂,the feminine features of the poetry were always connoted in the poetry itself and the feminine composing styles were pervasive in the poetry in the Song Dynasty. This phenomenon did not just reflect the boom of the poetry. However,it was a forceful presentation of the inclusiveness and interaction of the traditional Chinese culture.Key words：

关 键 词：阴阳同构 阴阳互生 中国文人 中国诗学(词学) 女性化特征 宋代词人 “双性同体” 

分 类 号：I206.9[文学—中国文学]