在江河湖海之间——论《文心雕龙》中的“水意象”批评  

Among Rivers,Lakes and Seas--On the Criticism of“Water Imagery”in“Wenxin Diaolong”

作　　者：王雷 耿占春[2] WANG Lei;GENG Zhanchun(School of Chinese Language and Literature,Yunnan University,Kunming 650091,China;School of Chinese Language and Literature,Henan University,Kaifeng Henan 475001,China)

机构地区：[1]云南大学文学院,昆明650091 [2]河南大学文学院,河南开封475001

出　　处：《德州学院学报》2024年第5期55-59,共5页Journal of Dezhou University

摘　　要：在中国古代文论中,意象批评是一种非常重要的批评方法,在《文心雕龙》中,刘勰亦是大量地借助意象来完成理论的建立,尤其注重对于“水意象”的叙述,故而形成了较为完整的“水意象”批评理论体系。《文心雕龙》中的“水意象”批评在接续着“比兴”传统的同时,通过“象”的连接又形成一种“情”本体的诗学建构,并且将“情”与“水”结合成为一种隐喻性的象征结构,从而形成一种独特的意境概念。因此,刘勰通过建立“水意象”批评的方法,形成了更为具体的美学意义上的理论创建。In ancient Chinese literary theory,image criticism is a very important criticism method,and“Wenxin Diaolong”also relies heavily on imagery to complete the establishment of theory,especially focusing on the narrative of“water imagery”,thus forming a relatively complete critical theoretical system of“water image”.While the criticism of“water imagery”in“Wenxin Diaolong”continues the“Bixing”tradition,it also forms a poetic construction of the ontology of“emotion”through the connection of“image”,and combines“emotion”and“water”.The series becomes a metaphorical symbolic structure and forms a generation mechanism of artistic conception.Therefore,by establishing the method of“water image”criticism,Liu Xie formed a transcendent experience in the aesthetic sense within the scope of theoretic al space.

关 键 词：《文心雕龙》 “情” 境界 “水意象”批评 

分 类 号：I0-03[文学—文学理论]