初唐诗歌审美意识的走向与陈子昂的诗学观——以“龙门应制”为中心  

An In-depth Analysis on the Aesthetic Consciousness of Early Tang Poetry and Chen Zi'ang's Poetics——Centered Around the Event Called “Long Men Ying Zhi”

作　　者：严维哲 Yan Weizhe

机构地区：[1]华东师范大学古籍研究所,上海200241

出　　处：《南京师范大学文学院学报》2018年第4期1-8,共8页Journal of School of Chinese Language and Culture Nanjing Normal University

摘　　要：唐代诗歌的审美意识主要由汉魏风骨与齐梁词采所构成,最早发端于魏征、虞世南等南北朝入唐诗人的作品中。陈子昂继承了魏征等人的观点,在与东方虬《修竹篇序》中提出了"风骨兴寄"的概念,将之视为与齐梁词采齐肩的审美意识,直接影响了东方虬与宋之问在龙门应制中的文学表现。东方虬与宋之问在龙门应制中所展现的是初唐诗人在风骨与词采审美意识上的分流,其文学表现主要体现在言志与缘情、复古与新变、比兴与铺排三个方面,最终对盛唐诗学产生了重要影响。The aesthetic consciousness of Tang poetry is mainly composed of the vigorous styleof Han and Wei dynasties and the flowery expression of Qi and Liang dynasties,which was first demonstratedin the works of the early Tang poets such as Wei Zhen and Yu Shinan.Chen Zi'ang inheritedthe views of Wei Zheng and others,and introduced the idea of"vigorous style with allegoricalmeanings"in his letter to Dongfang Qiu,in order to contend against the luxuriant Qi and Liangstyle.This had directly influenced Dongfang's performance in his response to the"emperor assignedtopic creation",the so called"long men ying zhi".The different performances of Dongfang Qiu andSong Zhiwen on this event indicated the divergence in aesthetic consciousness of the early Tang poets,which was shown in three aspects,namely,expressing idea or following emotion,antiqueness orinnovating,euphemism or extravagance.This eventually has an important influence on the poetry ofthe glorious age of Tang Dynasty.

关 键 词：初唐 陈子昂 龙门应制 风骨 词采 

分 类 号：I206.2[文学—中国文学]