自在与他在:张若虚诗中“春月”的审美体验论  

Objective and Empathetic :The Aesthetic Experience of “Spring Moon” in Zhang Ruoxu’s Poem

作　　者：潘链钰[1] 陆敏 Pan Lian-yu;Lu Min(School of Chinese Literature,Hunan Normal University,Changsha 410006 China)

机构地区：[1]湖南师范大学文学院

出　　处：《西安文理学院学报（社会科学版）》2020年第1期25-28,共4页Journal of Xi’an University(Social Sciences Edition)

基　　金：湖南省社科评审委员会课题:中国经学与诗学关系特征研究(XSP19YBZ201)阶段性成果

摘　　要：诗人写“月”历来多从他在审美的角度传达月的意境,张若虚《春江花月夜》一诗则从自在审美与他在审美两个角度共同建构春月的审美体验。两种不同的审美角度促使张若虚在赏月之时既能够从自身感悟的角度抽离,进而从整个人类的角度不断对宇宙及人生进行哲学思考,同时又能在变与不变的天地中寻找人本身存在的意义以及人的最终归宿。这一系列思索,象征着张若虚及其他初唐诗人在心理时空中逐渐萌发的宇宙意识,象征着初唐诗人从魏晋的个体哀思中升华出的人生哲学与社会意识。Poet’s writing of“Moon”has always conveyed the artistic conception of Moon from empathetic aesthetic,while Zhang Ruoxu’s poem A Night of Flowers and Moonlight by the Spring River constructs the aesthetic experience of Spring Moon from two aspects of objective aesthetic and empathetic aesthetic.Two different aesthetic perspectives urged Zhang Ruoxu not only to pull away from the aspect of his own perception when appreciating the moon,and to think philosophically about the universe and life from the perspective of the whole human beings,but also to find the meaning of human existence and the final destination of human beings in the changeable and unchangeable world.This series of thoughts symbolizes the universe consciousness gradually sprouting in the psychological time and space of Zhang Ruoxu and other early Tang poets,and symbolizes the philosophy of life and social consciousness sublimated from the individual grief of Wei and Jin Dynasties.

关 键 词：春月 自在审美 他在审美 审美体验 

分 类 号：I207.22[文学—中国文学]