唐代美学趣向的几次转折及其原因——兼论唐诗“初盛中晚”划分之不足
|
摘要
唐代美学趋向制高点上的光谱是瑰丽雄奇。通过辨析明代高棅《唐诗品汇》的诗"分期说",重新确立唐诗发展分期标准,认为唐诗美学趣向先后经历了初盛中晚四次转折。就诗歌艺术形象的外观而言,初唐诗清新而绮靡,盛唐诗雄奇而多姿,中唐诗刚健而空灵,晚唐诗浓烈而狭小。就诗歌艺术形象的风格而言,初唐是旧瓶新酒,盛唐是纵横恣肆,中唐是循规蹈矩,晚唐是刻意奇险。就诗歌艺术形象的主要创作准则而言,初唐重绮丽,盛唐重兴寄,中唐重风骨、意象,晚唐重境界、典故。就诗歌艺术形象所传达的审美情感而言,初唐是炫耀胜利的矫情,盛唐是渴望作为的豪情,中唐是经世致用的表征,晚唐是穷愁苦闷的象征。唐代美学趣向转折与有唐三百年社会变迁的轨迹基本一致,是由唐代经济社会发展所决定的。
The spectrum at the commanding heights of aesthetics in Tang Dynasty is magnificent. By analyzing Gao Wei's "Staging Theory" of Tang Poetry in Tang Poetry Collection in Ming Dynasty, the staging criteria is reestablished for the development of Tang Poetry, and it is held that the aesthetic interest of Tang Poetry has undergone four turning points in its early rising, prosperous, middle prosperity and late maturity. As far as the appearance of the artistic image of poetry is concerned, the poems of the early Tang Dynasty are fresh and beautiful, the poems of the flourishing Tang Dynasty are magnificent and colorful, those of the middle Tang Dynasty are vigorous and empty, and those of the late Tang Dynasty are strong and narrow. As far as the style of the artistic image of poetry is concerned,the poetry of early Tang Dynasty is an old bottle of new wine, the poetry of flourishing Tang Dynasty is arbitrary, the middle Tang Dynasty is a rule-abiding, and that of the late Tang Dynasty is deliberately strange and dangerous. As far as the main creative criteria for the artistic image of poetry are concerned, the early Tang Dynasty emphasizes beauty,the flourishing Tang Dynasty rejuvenates posts, the middle Tang Dynasty emphasizes style and image, and the late Tang Dynasty emphasizes realm and allusions. As far as the aesthetic feelings conveyed by the artistic images of poetry are concerned, the early Tang Dynasty is an affectation for showing off victory, the flourishing Tang Dynasty is a pride to aspire to be, the middle Tang Dynasty shows a symbol of the world's utility, and the late Tang Dynasty is a symbol of poverty and depression. The turning point of aesthetic interest in Tang Dynasty is basically consistent with the track of social change in the three hundred years of Tang Dynasty, which is determined by the economic and social development of Tang Dynasty.
The spectrum at the commanding heights of aesthetics in Tang Dynasty is magnificent. By analyzing Gao Wei's "Staging Theory" of Tang Poetry in Tang Poetry Collection in Ming Dynasty, the staging criteria is reestablished for the development of Tang Poetry, and it is held that the aesthetic interest of Tang Poetry has undergone four turning points in its early rising, prosperous, middle prosperity and late maturity. As far as the appearance of the artistic image of poetry is concerned, the poems of the early Tang Dynasty are fresh and beautiful, the poems of the flourishing Tang Dynasty are magnificent and colorful, those of the middle Tang Dynasty are vigorous and empty, and those of the late Tang Dynasty are strong and narrow. As far as the style of the artistic image of poetry is concerned,the poetry of early Tang Dynasty is an old bottle of new wine, the poetry of flourishing Tang Dynasty is arbitrary, the middle Tang Dynasty is a rule-abiding, and that of the late Tang Dynasty is deliberately strange and dangerous. As far as the main creative criteria for the artistic image of poetry are concerned, the early Tang Dynasty emphasizes beauty,the flourishing Tang Dynasty rejuvenates posts, the middle Tang Dynasty emphasizes style and image, and the late Tang Dynasty emphasizes realm and allusions. As far as the aesthetic feelings conveyed by the artistic images of poetry are concerned, the early Tang Dynasty is an affectation for showing off victory, the flourishing Tang Dynasty is a pride to aspire to be, the middle Tang Dynasty shows a symbol of the world's utility, and the late Tang Dynasty is a symbol of poverty and depression. The turning point of aesthetic interest in Tang Dynasty is basically consistent with the track of social change in the three hundred years of Tang Dynasty, which is determined by the economic and social development of Tang Dynasty.
引文
[1]杜道明.华夏审美风尚史·盛世风韵[M].许明,主编.北京:北京师范大学出版社,2016.
[2]王明居.唐代美学简论[J].安徽师范大学学报(人文社会科学版),2001(3).
[3](明)高棅.唐诗品汇:上[M].上海:上海古籍出版社,1982.
[4](宋)欧阳修,宋祁,等.新唐书·礼乐志:二[M].北京:中华书局,1975.
[5](宋)欧阳修,宋祁,等.新唐书·文艺传序:十八[M].北京:中华书局,1975.
[6]李泽厚.美的历程[M].北京:文物出版社,1981.
[7]高晓成.唐代诗歌品格与诗意之关系——以“诗格”材料为重心[J].江苏师范大学学报(人文社会科学版),2017(5).
[8](元)辛文房.唐才子传·岑参[M].舒宝璋,校注.郑州:中州古籍出版社,1987.
[9](宋)计有功.唐诗纪事:一[M].上海:上海古籍出版社,1987.
[10](元)辛文房.唐才子传·储光羲[M].舒宝璋,校注.郑州:中州古籍出版社,1987.
[11](后晋)刘昫,等.旧唐书·韩愈传:十三[M].北京:中华书局,1975.
[12](宋)欧阳修,宋祁,等.新唐书·韩愈传:十七[M].北京:中华书局,1975.
[13](后晋)刘昫,等.旧唐书·白居易传:十三[M].北京:中华书局,1975.
[14]陈伟.中唐社会思潮对诗歌形象的审美影响[J].上海师范大学学报(人文社会科学版),2000(1).
[15]李壮鹰.诗式校注[M].济南:齐鲁书社,1986.
[16](明)胡应麟.诗薮·内编:卷四[M].上海:上海古籍出版社,1979.
[17](明)胡应麟.诗薮·内编:卷六[M].上海:上海古籍出版社,1979.
[18](明)胡震亨.唐音癸签:卷八[M].上海:上海古籍出版社,1981.
[2]王明居.唐代美学简论[J].安徽师范大学学报(人文社会科学版),2001(3).
[3](明)高棅.唐诗品汇:上[M].上海:上海古籍出版社,1982.
[4](宋)欧阳修,宋祁,等.新唐书·礼乐志:二[M].北京:中华书局,1975.
[5](宋)欧阳修,宋祁,等.新唐书·文艺传序:十八[M].北京:中华书局,1975.
[6]李泽厚.美的历程[M].北京:文物出版社,1981.
[7]高晓成.唐代诗歌品格与诗意之关系——以“诗格”材料为重心[J].江苏师范大学学报(人文社会科学版),2017(5).
[8](元)辛文房.唐才子传·岑参[M].舒宝璋,校注.郑州:中州古籍出版社,1987.
[9](宋)计有功.唐诗纪事:一[M].上海:上海古籍出版社,1987.
[10](元)辛文房.唐才子传·储光羲[M].舒宝璋,校注.郑州:中州古籍出版社,1987.
[11](后晋)刘昫,等.旧唐书·韩愈传:十三[M].北京:中华书局,1975.
[12](宋)欧阳修,宋祁,等.新唐书·韩愈传:十七[M].北京:中华书局,1975.
[13](后晋)刘昫,等.旧唐书·白居易传:十三[M].北京:中华书局,1975.
[14]陈伟.中唐社会思潮对诗歌形象的审美影响[J].上海师范大学学报(人文社会科学版),2000(1).
[15]李壮鹰.诗式校注[M].济南:齐鲁书社,1986.
[16](明)胡应麟.诗薮·内编:卷四[M].上海:上海古籍出版社,1979.
[17](明)胡应麟.诗薮·内编:卷六[M].上海:上海古籍出版社,1979.
[18](明)胡震亨.唐音癸签:卷八[M].上海:上海古籍出版社,1981.