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作 者:熊江梅[1] XIONG Jiangmei(College of Liberal Arts,Hunan Normal University,Changsha,Hunan 410081)
出 处:《中国文学研究》2024年第3期109-117,共9页Research of Chinese Literature
摘 要:感物诗是在“气的宇宙观”下生成的独特文类。在“气的宇宙观”视域下,心、物同根同构又交相感应,成为呼吸相通的有机整体。秦汉以来随着“诗的时间”的发现,感物诗集中抒写时间体验,逐步积淀为体气与时气绾合的“叹逝”主题与四时结构模式;处身于大气场域中,受到阴阳之气浸润,“应物斯感”的抒情主体表现出被动性、身体性特点;时间的空间化、气氛之物的出场及浓郁化、处身于境的氛围体受,营造出感物诗的气氛美学。围绕“心物相与”生成的“叹逝”主题、身体化主体和气氛美学,感物诗鲜明地呈现了气类感应的有情世界这一独特的文学图景,同时又以其主题的固定化、模式的程式化、意象的类型化等质性特点,成为汉魏晋士人群体自觉的文学表征,具有重要的诗学与文化意义。Poetry of Ganwu is a unique genre under the“Qi cosmology”.In the view of“Qi cosmology”,the mind and matter are of the same root and isomorphism and interact with each other,becoming an organic whole connected by breathing.Since the Qin and Han Dynasties,with the discovery of“poetic time”,Poetry of Ganwu has concentrated on the expression of time experience,and gradually accumulated into the distinct theme of“sigh for the passing of time”and the structural mode of four seasons in a manner consistent with the physical and seasonal atmosphere.People are immersed in the atmospheric field,and are infiltrated by Qi of Yin and Yang.The lytic subject of“responding to things and feeling”shows the characteristics of passivity and physicality.The spatialization of time,the appearance and intensification of objects in atmosphere and the physical sensation of being in the atmosphere create the atmosphere aesthetics of Poetry of Ganwu.Centering on the theme of“sigh for the passing of time”,the body subject and the atmosphere aesthetics generated by“spirits and objects”,Poetry of Ganwu distinctly presents a unique literary prospect of the sentient world induced by Qi.At the same time,it has become a literary symbol of group consciousness of the scholars in Han,Wei and Jin Dynasties with its fixed theme,stylized pattern and typological image and other poetic qualities,which had great significance in poetic and culture.
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