从神圣之物到灵验之物--先秦两汉文学作品中“泉”的演进历程  

From the Deified Object to the Spiritual Object--The Evolution of the Pre-Qin and Han Dynasties LiteratureWorks aboutt“Spring”

作　　者：刘海涛 LIU Haitao(School of Literature,GuizhouEducation University,Guiyang,Guizhou 550018)

机构地区：[1]贵州师范学院文学与传媒学院,贵州贵阳550018

出　　处：《中国文学研究》2023年第4期35-41,共7页Research of Chinese Literature

基　　金：贵州省哲学社会科学规划国学单列课题“贵州明清易学文献资料整理与阐释研究”(18GZGX07)。

摘　　要：中国古典文学作品中有大量的审美视域下的泉。但在泉成为独立的审美对象之前,经历了一个从被神圣化到赋予灵验性的演变过程。泉最早被原始先民视为“神泉”而加以崇拜;西周时期,泉走下神坛成为“自然之泉”,因事关“国邑之建”而受到格外的关注;春秋战国时期,受比德思维的影响而形成了“德泉”的概念;汉代,泉被赋予了灵验性,从而出现了大量“醴泉”“灵泉”的描写。这些“泉”具有鲜明的时代特征,梳理清楚其演变过程,对全面深入地理解泉文化有着重要的意义,同时也可以为研究审美对象的发生机制提供一个具体的实证,这对中国古代山水审美和中国古典美学的理解都有着现实的意义。There are a large number of springs in classical Chinese literature from a non-uesthetie perspective.In fact。before the spring became an independent aesthetie objet,there had been springs as the divine sprng formed out of the ancient primitive thinking,the natural spring out of labor in the Western Zhou Dynasty,the moral spring out of the pre-Qin moral analogy.and the seasonal spring under the philosophy of heaven and man interaction in the Han Dynasty.These springs with obvious utilitarian eharac-teristics are the ancient people's understanding of the world,representing obvious epochal signs and cultural implications.Therefore,it is of great significance to clarify the evolution pocess of spring before it becomes an aesthetie objeet.It is helpful for a compre-hensive and in-depth understanding of the culural connotations of spring endowed by seial life,religious belief and ideology in dif-ferent historical periods.Al the same time.it can also provide specifie eridenee to explain the mechanism of aesthetie objects,which is of practical significance to deepen our underslanding of ancient Chinese landscape aesthetics and classical Chinese aesthetics.

关 键 词：泉 原始崇拜 相泉 比德 醴泉 

分 类 号：I206.2[文学—中国文学]