论《秋兴八首》的气氛空间与悲怆审美  

On Aesthetics of Atmospheric Space and Pathos in Eight Songs of Autumn Xing

作　　者：陈淼霞 CHEN Miao-xia(School of Business and Communication,Lanzhou University of Finance and Economics,Lanzhou 730020,China)

机构地区：[1]兰州财经大学商务传媒学院,甘肃兰州730020

出　　处：《兰州文理学院学报（社会科学版）》2024年第6期59-64,共6页Journal of Lanzhou University of Arts and Science(Social Sciences Edition)

摘　　要：杜甫作为唐代诗人中的集大成者,其组诗《秋兴八首》可谓巅峰之作,长期以来学者对其评价甚高。而该组诗物色万象、触物起情以营造气氛的感兴创作手法,与近年来西方美学中的“气氛”美学理论不谋而合。“气氛”美学作为审美批评的一种新理论,让美学重返生活,扩大美的研究视域及空间。将其气氛之物统摄的性情化在场与中国古典美学中的意境理论结合来分析《秋兴八首》,发现其意境情感张力来源于对自然美的流连,对生命的深刻体验,以及超然性、无我性与愁闷、飘零现状形成对照而构成超验空间,这为进一步全息性地感受中国诗词佳作的魅力提供了新的启示。Du Fu,as one of the most comprehensive poets in the Tang Dynasty,has long been highly praised by scholars for his group poem Eight Songs of Autumn Xing,which can be regarded as the pinnacle of his work.The group of poems,in which Du Fu searches for all kinds of images and touches things to create an atmosphere,coincides with the theory of“atmosphere”aesthetics in Western aesthetics in recent years.As a new theory of aesthetic criticism,“atmosphere”aesthetics brings aesthetics back to life and expands the scope and space for the study of beauty.Analyzing Eight Songs of Autumn Xing in combination with the theory of mood in classical Chinese aesthetics,it is found that the emotional tension of the mood comes from lingering on the beauty of nature,the profound experience of life,and the transcendence and selflessness in contrast to the present situation of sorrow and drifting,which constitutes a transcendental space,which provides a new revelation for further experiencing the charm of the best Chinese poems in a holographic way.

关 键 词：《秋兴八首》 气氛空间 悲怆 融合 

分 类 号：I01[文学—文学理论]