“性灵说”之“贵情”美学精神及其学理溯源  

Aesthetic Spirit of “Xingling Theory” and its Theoretical Origin

作　　者：李天道[1] 唐君红[2] LI Tian-dao;TANG Jun-hong(Literature College,Sichuan Normal University,Chengdu 610068,China;Dazhou Vocational and Technical College,Dazhou 635001,China)

机构地区：[1]四川师范大学文学院,四川成都610068 [2]达州职业技术学院,四川达州635001

出　　处：《青海师范大学学报（哲学社会科学版）》2018年第4期99-105,共7页Journal of Qinghai Normal University(Philosophy and Social Sciences Edition)

基　　金：四川省美学与美育研究中心项目"中国古代人生美学研究"(17Z001)

摘　　要："性灵说"是清代诗文家袁枚提出的论诗主张。他提倡"性灵说",认为"自三百篇至今日,凡诗之传者,都是性灵,不关堆垛",主张诗文审美创作应该抒写性灵,要写出诗人的个性,表现其个人生活遭际中的真情实感,并由此致使其"性灵说"突出地呈现出一种"贵情"美学精神。这种"贵情"美学精神,在中国美学史上具有极为深厚的学理渊源,可以追溯到陆机的"缘情说"。＂Theory of spirituality＂ is a poetic proposition put forward by Qing dynasty poet Yuan Mei. He advocated ＂the theory of spirituality＂ and believed that ＂from 300 articles to this day, all poets are spir-ituality, not stacking＂. He advocated that the aesthetic creation of poetry should express spirituality, write the poet＇s personality, and express the true feelings in his personal life. As a result, his ＂theory of spirit-uality＂ has shown an outstanding aesthetic spirit of ＂love＂. This aesthetic spirit of ＂love＂ has a profound theoretical origin in the history of Chinese aesthetics, which can be traced back to Lu Ji＇s ＂theory of love＂.

关 键 词：性灵说 “贵情”美学精神 抒发性情 缘情说 

分 类 号：B83-06[哲学宗教—美学]