论《沧浪诗话》中的“诗法自然”观  

On the Concept of“Poetic Nature”in Canglangshihua

作　　者：管雪莲 Guan Xuelian

机构地区：[1]集美大学海洋文化与法律学院语言文学系

出　　处：《中国美学研究》2024年第2期220-236,共17页

基　　金：福建省社科规划重大项目“推动福建省优秀传统文化创造性转化、创新性发展研究”(项目编号:FJ2022XZZ007)阶段性成果

摘　　要：严羽在《沧浪诗话》中有一个隐而不显的“诗法自然”观,这个“诗法自然”既是对道家思想、魏晋玄学“道法自然”的化用,也是对禅宗思想中“自然”观念的化用。《沧浪诗话》的“情性”说与“兴趣”论、“自然悟入”与“妙悟”论、“气象”论等,都有“诗法自然”理念的体现。严羽以“诗道”反对“诗教”,重建诗史叙述,以“对人之自然天性和自由生命精神的体悟深浅”为标准梳理出汉魏至盛唐“从‘不假悟’,到‘明晰之悟’,到‘透彻之悟’”的诗歌发展历程,从而完成了他对宋代学问诗、学理诗的反驳;以及他突破了宋代儒释道三家合一的话语环境,仅把“以禅喻诗”与“诗法自然”相统一,建构了“即真”“玄妙”的《沧浪诗话》美学。Yan Yu has a hidden and unobvious concept of“poetic nature”in Canglangshihua,which is not only the application of Taoist thought,Wei and Jin metaphysics“Taoist nature”,but also the application of the concept of“nature”in Zen thought.Yan Yu used“poetic Taoism”to oppose“poetry teaching”,reconstructed the narrative of poetry history,and used“the depth of understanding of the natural nature of human beings and the spirit of free life”as the criterion to sort out the development process of poetry from the Han and Wei dynasties to the prosperous Tang Dynasty,from“non-false enlightenment”,to“clear understanding”,to“thorough understanding”,thus completing his refutation of the Song Dynasty’s academic poetry and academic poetry;and he broke through the discourse environment of Confucianism,Buddhism and Taoism in the Song Dynasty,and only unified“poetry with Zen”and“poetry and nature”,and constructed the aesthetics of“Canglangshihua”of“truth”and“mystery”.

关 键 词：《沧浪诗话》 诗道 以禅喻诗 诗法自然 

分 类 号：I207.22[文学—中国文学]