陈子昂“风骨”说内涵探析  

Analysis of the Connotation of Chen Zi’ang’s "Fenggu" Theory

作　　者：戴思奇 DAI Siqi(School of Literature,Anhui University,Hefei 230039,China)

机构地区：[1]安徽大学文学院,安徽合肥230039

出　　处：《宿州教育学院学报》2022年第2期86-90,共5页Journal of Suzhou Education Institute

摘　　要：陈子昂在《修竹篇序》中提出了以“风骨”“兴寄”为中心的文学革新理论,其中“风骨”这一文学理论内涵十分丰富。陈子昂上承建安风骨,下启盛唐风骨,其“风骨”内涵既继承了建安诗歌慷慨激昂的特点,又创新出“骨气端翔、音情顿挫、光英朗练”的新诗歌审美标准。陈子昂用“风骨”理论亲自进行诗歌创作实践,对扫除六代颓靡之文学,矫正浮靡之诗风,作出了巨大贡献。同时,“风骨”说也影响了后世一批诗人,为唐诗的发展开辟了一个新的天地。In the Preface to Xiuzhu, Chen Zi’ang put forward a literary innovation theory centered on character and prosperity, in which the connotation of "character" is very rich. Chen Zi’ ang inherited the style of Jian’an from the top and the style of the prosperous Tang Dynasty from the bottom. Its "style" connotation not only inherited the characteristics of the impassioned poetry of Jian’an, but also innovated a new poetry aesthetic standard of "backbone flying, sound and emotion falling, light and heroic practice".Chen Zi’ang personally practiced poetry creation with the theory of "character", and made a great contribution to eliminating the decadent literature of the six generations and correcting the floating poetic style.At the same time, the theory of "character" also influenced a group of poets in the Tang Dynasty to pursue and advocate character, which opened up a new world for the development of Tang poetry.

关 键 词：陈子昂 《修竹篇序》 风骨 

分 类 号：I206.2[文学—中国文学]