唐宋诗学中情感形式化的分野——以“兴象”与“兴趣”为中心  

Distinction of Emotional Formalization between the Poetics of the Tang and the Song Dynasties:A Change from "Xingxiang" to "Xingqu"

作　　者：马金水 潘链钰[1] MA Jin-shui;Pan Lian-yu(School of Literature,Hunan Normal University,Changsha 410006,China)

机构地区：[1]湖南师范大学文学院,湖南长沙410006

出　　处：《湖南人文科技学院学报》2018年第6期60-67,共8页Journal of Hunan University of Humanities,Science and Technology

基　　金：湖南省社科基金项目"破立视阈下的唐宋诗学发生研究"(17YBQ079)

摘　　要：以"唐宋变革论"观照唐宋诗学会发现此一时期发生了由"兴象"到"兴趣"的情感形式化之转向。在"兴象"苑囿里,殷璠与王昌龄强调主体意志对于意境构建的能动作用,赋予兴象以"美刺"品质,其动机是以"兴寄"来打通物我,开放一己之怀抱。至皎然、司空图、严羽等归并"兴趣"而淡化了"寄"的中介之用,使主体的情感自由敞开,直截自然而又无限丰富。由"兴象"到"兴趣",既有着"兴"之诗学传统的延承与丰富,亦有着情感和旨趣上的变化。而唐宋之际的儒释道三教的文化影响,正是这一现象出现的重要原因之一。As mentioned by Naito Konan's theory of "Tang-Song Reform",Chinese poetics has also evolved in this period:from "Xingxiang(profound meaning associated to image)" to "Xingqu(aspiration associated to emotion and interest)". The formalization theory of Yin Fan and Wang Changling basically belongs to " Xingxiang",emphasizing the dynamic effect of the subject will on the construction of artistic conception and endowing " Xingxiang" with the quality of "praise and satire" to express intention by things; while Jiao Ran,Sikong Tu and Yan Yu are close to " Xingqu",fading the intermediary use of " Xingji ( expressing intention by things)", and enabling the emotion of the subject free and open, direct and natural, and infinitely rich. From " Xingxiang" to " Xingqu",it not only has the continuity and development of the poetic tradition of " Xing",but also changes in emotion and interest. The cultural influence of Confucianism,Buddhism and Taoism in the Tang and the Song Dynasties is one of the important reasons for this phenomenon.

关 键 词：唐宋诗学 情感形式化 “兴象” “兴趣” 

分 类 号：I207.22[文学—中国文学]