从写景艺术看庾信诗风的南北嬗变  

On the Change of the Poetic Style of Yu Xin in the Period of the Northern and Southern Dynasties from the Perspective of Art of Scenery Description

作　　者：温辉辉 WEN Huihui(Department of Literature,Shaanxi Normal University,Xi’an 710018,China)

机构地区：[1]陕西师范大学文学院,陕西西安710018

出　　处：《湖南工程学院学报（社会科学版）》2023年第3期74-79,共6页Journal of Hunan Institute of Engineering(Social Science Edition)

摘　　要：庾信的诗歌作品之间风格相差甚大,学者普遍认为南朝作品绮艳雕琢,北朝作品苍凉劲拔,但这一结论可进一步讨论。在对庾信诗歌作品进行南北分期的前提下,从写景艺术角度梳理了其南北诗风之间的关系,发现庾信的南朝作品除了清新自然之作外,也存在沉郁苍凉风格的作品,且这两种风格在北朝时期都得到了继承与发展;此外北朝时期的作品因经历、心态等原因,在景物的审美取向、哲理意味和景与情的关系三方面都有了新突破。把上述新变放在文学史中进行考察,庾信的写景艺术开拓了多样的美学风格,提升了景物描写的品质,进一步促进了诗歌的情景交融。There was a huge difference between Yu Xin’s poems.Scholars generally believed that the Southern Dynasty’s works were exquisitely carved and the Northern Dynasty’s works were desolate and vigorous,but this conclusion could be further discussed.On the premise of dividing Yu’s poems into the Northern and Southern Dynasties periods,the relationship between the Northern style and the Southern style was analyzed from the perspective of scenery description,and the conclusion is that in the Southern Dynasty,apart from fresh and natural works,there were also works of gloomy and desolate style,and these two styles had both been inherited and developed in the Northern Dynasty;In addition,due to the experience and mentality,the Northern Dynasty’s works had made breakthroughs in three aspects:the aesthetic orientation of scenery,philo-sophical meaning and the relationship between scenery and emotion.By reviewing the above changes in literary history,Yu Xin’s landscape painting art has developed a variety of aesthetic styles,improved the quality of landscape description,and further promoted the blending of feelings and scenes in poetry.

关 键 词：庾信 写景艺术 诗风转变 南北朝 

分 类 号：I206.39[文学—中国文学]