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作 者:王书艳 WANG Shu-yan(School of Humanities and Communication,Zhejiang Gongshang University,Hangzhou 310018,Zhejiang)
机构地区:[1]浙江工商大学人文与传播学院,浙江杭州310018
出 处:《陕西师范大学学报(哲学社会科学版)》2024年第5期131-143,共13页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)
基 金:国家社会科学基金重大项目“中国古代园林文学文献整理与研究”(18ZDA240);浙江省哲社科规划重点项目“宋代园林与诗画艺术之关系研究”(24NDJC20Z);省属高校基本科研业务费项目(XR202308)。
摘 要:“景”在唐代成为一个具有景观审美义的诗学概念,与唐代文人的园林景观审美密切相关。唐代文人的园林景观营造与审美促使山水审美由宏观远赏向微观近赏转变,自然山水向园林山水延伸,“园景”成为继自然山水之后又一重要的诗歌书写对象。不仅“景”“风景”“景物”等用来描述园景,而且出现了“胜景”“清景”“幽景”等丰富的品鉴园林景观的诗歌语汇。同时,在“采园景入诗”之主动行为与普遍行为的影响下,“吟景”“入诗”“诗情”“诗境”等诗语大量涌现,“诗境”概念应运而生。由“景”到“诗景”,可以看到唐代文人园林景观审美在诗学概念的形成中有着重要作用。“Scenery”(Jing景)became a poetic concept with landscape aesthetic meaning in the Tang Dynasty,which was closely related to the Aesthetic of Literati’s Gardens in the Tang Dynasty.The landscape construction and aesthetics of the literati in the Tang Dynasty promoted the transformation of landscape aesthetics from macro remote appreciation to micro close appreciation,and the extension of natural landscape to garden landscape.“Garden Scenery”(Yuanjing园景)has become another important poetry writing object after natural landscape.Not only the“Scenery”(Jing景),“landscape”(Fengjing风景)and“scene”(Jingwu景物)are used to describe the garden landscape,but also there are multiple poetic vocabulary for appreciating the garden landscape,such as“wonderful scene”(Shengjing胜景)“clear scene”(Qingjing清景)“serence scene”(Youjing幽景).At the same time,under the influence of the proactive and universal behavior of“incorporating garden scenery into poetry”(Cai Yuanjing Rushi采园景入诗),a large number of poetic phrases such as“intonating scenery”(Yinjing吟景),“poeticization of scenery”(Rushi入诗),“poetic emotions”(Shiqing诗情)and“poetic thinking”(Shisi诗思)have emerged,giving rise to the concept of“poetic scenery”(Shijing诗景).From“scenery”(Jing景)to“poetic scenery”(Shijing诗景),it can be seen that the aesthetic of Tang Dynasty literati's garden landscapes played an important role in the formation of poetic concepts.
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