明清小说批评中的“观象”思维与审美体验  

The“Imagistic”Thinking and Aesthetic Experience of Novel Criticism in Ming and Qing Dynasties

作　　者：李婧 LI Jing(School of Literature,Shandong University,Jinan 250100,China)

机构地区：[1]山东大学文学院,济南250100

出　　处：《哈尔滨工业大学学报（社会科学版）》2023年第2期109-116,共8页Journal of Harbin Institute of Technology(Social Sciences Edition)

基　　金：国家社会科学基金重大项目“中国古代小说理论术语考释与谱系建构”(19ZDA247)。

摘　　要：在明清小说批评中,金圣叹、毛纶与毛宗岗父子、但明伦等批评家们常以一系列“观象”隐喻修辞话语评说对小说文本的审美感受。这种思维方式并非明清小说批评家的新创,它较早地出现在魏晋六朝时期的《世说新语》以具体可感的景象品藻人物的清谈中,以及该时期以意象评赏作品风貌的文学批评中。明清小说批评中的“观象”批评,是指作为审美主体的批评家往往幻想出一系列的景象,并且以审美“观象”方式去品鉴景象,将各种景物视为情景交融的意象,并以动静交叉的各类景物意象来评说小说文法特征。在批评家眼里,小说文本天地仿佛风景名胜区,在带给批评家及阅读者审美愉悦的同时,也凭借其自身蕴藏着的画境感提升读者的阅读兴味。Jin Sheng-tan,Mao Lun and his son-Mao Zong-gang,Feng Zhen-luan and other critics frequently used some“imagistic”terms to comment their aesthetic feelings about the novel text.The“imagistic”rhetoric terms were not the new creation by the critics of novels in Ming and Qing Dynasties.It originates from the atmosphere of talking about characters with concrete and appreciable scenes in A New Account of the Tales of the World and carries forward the criticism way of“view of images”in the traditional Chinese literary and art theory.The“imagistic”rhetoric terms mean thatthe critics—as the aesthetic subject,often conjure up a series of scenes,and taste the scenes from the aesthetic perspective of“image”,so that the scenes become the scene images of the integration of scenes,and comment on the grammatical features of the novels with various scene images which are the association of activity and inertia.In other words,in the eyes of critics,the text world of the novel is like a scenic spot,which not only brings aesthetic pleasure to critics and readers,but also enhances readers'reading interest by virtue of its own hidden sense of painting.

关 键 词：明清 小说批评 观象思维 意象批评 画境审美 阅读兴味 

分 类 号：I207.41[文学—中国文学]