王维诗“留白”审美模式刍议  

Aesthetic Models of White Space in Wang Wei's Poetry

作　　者：郎晓梅[1] LANG Xiao-mei(Teacher＇s School,Eastern Liaoning University,Dandong 118003,China)

机构地区：[1]辽东学院师范学院,辽宁丹东118003

出　　处：《辽东学院学报（社会科学版）》2018年第5期46-50,共5页Journal of Liaodong University：Social Science Edition

摘　　要："留白"观念源于中国传统绘画。画之黑白说因水墨而来,而水墨之兴则自王维之后。本文试将王维诗对留白手法的运用归纳为三个模式,即"山色有无中"——色淡之调,"夜静春山空"——色空之境,"寒梅著花未"——色藏之情。试图深入探讨三模式中的审美构架以及审美效应。并期冀古为今用,作为创作者,能与同好谐行,浸濡于王维诗中留白所创圆融自在的气场,学会经营空白,使留白旺盛充盈的再生成机制在当下旧体诗创作语境中能勃发生命力。The concept of white space originated from traditional Chinese painting. In this study, the technique of white space Wang Wei used in his poetic creation was analyzed. It was found that there were three aesthetic models of white space in Wang Wei＇s poetry, including the light color tone, blank color scene and ]aided color feeling. The aesthetic framework and effect of the models are also studied. It is also proposed that this technique should be used in present classical poetry creation.

关 键 词：王维 诗歌 留白 审美模式 

分 类 号：H05[语言文字—语言学]