爱奇、博物与山水审美:《水经注》文学价值探源  

Curiosity,Natural History,and Landscape Aesthetics:Tracing the Literary Value of Shuijing Zhu(Commentary on the Water Classic)

作　　者：胡永正 HU Yong-zheng

机构地区：[1]南开大学文学院,天津300071

出　　处：《内蒙古大学学报(哲学社会科学版)》2025年第2期71-80,111,共11页Journal of Inner Mongolia University(Philosophy and Social Sciences)

基　　金：南开大学文科发展基金项目(项目批准号:ZB21BZ0216)。

摘　　要：《水经注》的文体风格主要近于州郡地记,郦道元吸取了州郡地记中记述人文历史事迹的特点,并因其爱奇心理,使注文方式刻意求奇,征引材料偏爱神怪。魏晋以来“博物地理”的观念渐兴,左思、张华、郭璞等人的“博物地理”观念影响了郦道元,并使其征引著作范围扩大,文本层次更为“多系统性”,注解重心逐渐从地理向多层次扩展。郦道元自觉的山水审美意识使注文中的景色描写寄寓着作者的情感,体现了他对山水的关注、欣赏与品评,并使写景语言诗化,以表现山水之美作为书写的首要标准。The literary style of Shuijing Zhu(Commentary on the Water Classic)principally aligns with regional gazetteers(zhoujun diji).Li Daoyuan not only adopted their characteristic historico-cultural documentation,but also motivated by his curiosity for marvels(aiqi),deliberately cultivated unorthodox annotative practices,with marked preference for supernatural references.During the Wei-Jin period,the conceptual paradigm of"Natural History Geography"(bowu dili)rose to prominence as evidenced in Zuo Si′s,Zhang Hua′s and Guo Pu′s works.Their intellectual legacy led Li to broaden his referential scope,yielding a multi-systemic textual architecture wherein annotations evolved from purely geographical towards multidimensional discourse.Li′s deliberate landscape aesthetics(shanshui shenmei)imbued topographical depictions with profound affective resonance,demonstrating his hermeneutic engagement with nature through systematic observation,critical appraisal,and poetic articulation that elevated beauty representation as the paramount compositional principle.

关 键 词：《水经注》 爱奇 博物 山水审美 

分 类 号：I206.2[文学—中国文学]