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作 者:侯小丽 Hou Xiaoli
机构地区:[1]山东大学文学院
出 处:《励耘学刊》2024年第2期80-96,310,共18页
基 金:国家社会科学基金重大项目“中国古代小说理论术语考释与谱系建构”,项目编号:19ZDA247。
摘 要:“如画”一词富含文化底蕴,具有较为强大的喻说功能。“如画”作为文学批评术语,既蕴含中国传统人物画、山水画、花鸟画的文艺属性,与“远近相宜”“虚实相生”等“画境”审美观念相映照,又受不同时代文艺审美的影响,具有丰富的批评意蕴。明代以降,“如画”这一术语被广泛用于评说小说“活态”写人与“动态”写景中,这不仅是固有的儒释道等文化因素发酵的结果,而且蕴含更多值得寻味、解码的德性批评及美感意蕴。The term"Ru hua"is rich in cultural heritage and possesses powerful metaphorical functions.As a literary criticism term,"Ru hua"embodies the artistic attributes of traditional Chinese figure painting,landscape painting,and bird-and-flower painting,echoing aesthetic concepts such as"appropriate distance"and"complementary emptiness and solidity".It is also influenced by different eras of literary and artistic aesthetics,exhibiting rich critical implications.Since the Ming Dynasty,the term"Ru hua"has been widely used to comment on the"vivid"portrayal of characters and the"dynamic"description of scenery in novels.This is not only the result of the fermentation of inherent cultural factors such as Confucianism,Buddhism,and Taoism,but also contains more moral criticism and aesthetic implications worthy of exploration and decoding.
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