《二十四诗品·悲慨》之独特的悲情美学意蕴  

The Unique Implication of Tragedy Aesthetic in Grief of Twenty-four Poems

作　　者：袁俊伟[1] YUAN Jun-wei(School of Humanity,Suzhou University,Suzhou 215123,China)

机构地区：[1]苏州大学文学院

出　　处：《运城学院学报》2019年第4期25-29,共5页Journal of Yuncheng University

摘　　要：司空图《二十四诗品》中“悲慨”一品呈现出一种迥异于常的面貌,其悲情内蕴甚至超越了中国传统美学范畴,具有一种近似于西方悲剧的美学意蕴,给后世留下了很大的悲情美学阐释空间。虽然《二十四诗品》大多有道家老庄的审美意境,甚至深受唐代佛教美学的垂范,然而“悲慨”一品,或许还是要进入儒家的人格境界来探讨,《二十四诗品·悲慨》之悲情美学意蕴的背后是司空图高尚人格的坚守与事功不得的悲叹,司空图实则是用自我献祭完成一幕悲绝的生命人格书写。The Grief in Sikong Tu s Twenty-four Poems presents an extraordinary appearance.Its pathos connotation even surpasses the traditional Chinese aesthetic category.It has an aesthetic connotation similar to the western tragedy,leaving great space for the interpretation of pathos aesthetics for later generations.Although the poems in Twenty-four Poems mostly have the aesthetic conception of the Daoist school of philosophy,and even are deeply modeled by Buddhist aesthetics in the Tang Dynasty,it may still need to explore the meaning of the Grief in the realm of Confucian personality,.The implication of the pathos aesthetics poem is the noble personality and the lament of unsuccessful achievement of Sikong Tu.Sikong Tu actually wrote a sad scene of life personality with a self-sacrifice style.

关 键 词：二十四诗品 悲慨 悲情内涵 悲剧辨析 悲绝人格 

分 类 号：I222[文学—中国文学]