从陶渊明《形影神》诗看魏晋南北朝文艺思想中的形神论  

From Tao Yuanming's Shaping,Shadow,and Spirit Poem to the Shape-and-Spirit Theoryin Literary Thought of the Wei,Jin,Southern and Northern Dynasties

作　　者：牛军[1] 韩扬文 Niu Jun;Han Yangwen

机构地区：[1]云南大学文学院 [2]云南艺术学院艺术管理学院

出　　处：《古代文学理论研究》2024年第2期325-339,共15页Studies of Ancient Chinese Literary Theory

摘　　要：陶渊明组诗《形影神》并序作为其人生观的集中开显,蕴含着诗人对于东汉末年以降形神论问题的高妙反思与总结。其创作维度比之旧有形神论思想而言是全然不同的,亦即在《神释》中,陶渊明捐弃了形神二分的观念,呈现出即形即神的可能性。以此反观魏晋南北朝的文艺思想与创作沿革,不难发现既往的文艺思想及践履如何走上形、神二分的道路,以至于时常使文艺观念陷入偏至的境地。本文旨在从《形影神》组诗的形神论出发,回溯魏晋南北朝文艺思想中形神论的缘起、流变与分际,并最终以《神释》为锁钥探寻解决形神问题的新范式。The poem Shaping,Shadow,and Spirit by Tao Yuanming,along with its preface,serves as a concentrated expression of his life philosophy,containing the poet's reflection and summary of the problem of the relationship between form and spirit in the later Han Dynasty and beyond.Its creative dimension is entirely different from that of the traditional theory of the relationship between form and spirit.That is,in Spiritual Explanation,Tao Yuanming abandoned the dualistic concept of form and spirit and presented the possibility of form and spirit being one.By looking back at the evolution of literary thought and creation in the Wei and Jin and Southern and Northern Dynasties,it is not difficult to see how previous literary thoughts and practices went down the path of dividing form and spirit,often leading literary concepts into extreme situations.This article aims to trace the origin,evolution,and boundaries of the theory of the relationship between form and spirit in literary thought in the Wei and Jin and Southern and Northern Dynasties,and ultimately discuss the new paradigm for solving the problem of form and spirit through the realization of Spiritual Explanation.

关 键 词：陶渊明 《形影神》诗 形神论 魏晋文艺思想 

分 类 号：I207.22[文学—中国文学] I206.2