李存葆的绿色情怀
摘要
“散文热”是上世纪末、本世纪初文坛的一大景观，涌现出诸多散文种类，散文变
革潮流蔚为大观。李存葆就是其中涌现出来的一位“文化大散文”代表作家。
李存葆的成长道路是独特的，他是一位军旅作家，1982年以一部中篇小说《高山
下的花环》而享誉神州。当小说作为精神旗帜还在读者心中飘扬之际，他攀登“高
山”，摘取“花环”，当报告文学在社会上更进一步新人耳目之际，他开掘“沂蒙”，
挥洒“九章”。近年来散文创作五花八门流光溢彩，他又进驻这一领域，开拓出他自己
的园地，可谓与时俱进。他盛年变法，毁我塑我，度过了某种创作危机，写作立场发生
了大转型——由相对较狭的政治化写作转向了文化化写作。这种战略上的转移、战术上
的挺进体现了他心灵的纯净、智能的多才多艺。他把握住文学的最本质的东西，接受新
的挑战，并取得了很大的成功。本文主要从李存葆散文的绿色母题、主体的创作心态及
其对散文文体的探索三方面来评析李存葆散文，探讨他的“文化大散文”对当代散文发
展所作的贡献。
考察李存葆散文的主题意蕴，可以发现其作品主要是围绕绿色主题而创作的，也可
被称为“绿色散文”。绿色思潮和绿色运动是20世纪末21世纪初最深入人心的全球性
运动，而且必将成为21世纪最重要的社会、政治、文化主题。李存葆凭借自己昂扬的
激情、深沉的理性、强烈的当代意识和广博的学识自觉地站在全人类、全球的高度，以
文化为立足点，以人类生态学的视角深切关注我国及全球的自然生态、社会生态、文化
生态和人性生态，针砭时弊，为人类寻求克服困境以自救的绿色道路，为我们的社会寻
求可持续发展的方式，为广大人民寻求享有真正可持续幸福的途径。他是一个拥有绿色
情怀——对人类前途、命运的“类关怀”、对自然生态、社会生态、文化生态、人性生
态的终极关怀的作家。他衷心热爱大自然，面对一切对自然生态的残害和破坏感到悲愤
难抑、椎心泣血。他总是能超越一时一事一物一国，站在全球、全人类的高度，以哲人
的清醒睿智思索人类的未来，呼唤全人类的群体意识，呼唤恢复人与自然的和谐共生局
面。作为一个社会责任感和历史使命感极强的作家，李存葆对社会生态的关注与批判是
贯穿他的文学生涯的，他以“一切历史都是当代史”和“把当下看成历史”的眼光来思
考历史、现实与未来的意义与责任，对阻碍社会进程的一切丑恶现象进行猛烈批判。文
化是李存葆散文的立足点，他根植于民族文化的土壤，以强烈的现代意识和批判意识去
发掘民族文化之魂，进行深入透彻的文化反思，让人感受到文本的思想含量和文化含
量。对人民的热爱使他十分关注人性宇宙、心灵世界，深入探求其中的奥秘，倡导崇高
和大美，对人性生态失衡、分裂乃至崩溃表现出深切忧患。
考察主体的创作心态，悲悯的入世情怀和雄健的军人气质是李存葆文化心理结构的
重要组成部分。受传统儒家文化水土的滋养，使他具有悲悯的入世情怀，成为一位“号
手型”的作家，成为文坛上最听从时代与人民命令的一员战将。他悲悯的入世情怀主要
体现在严谨的求真精神和执着的平民意识两方面。深厚的人民性是他作品的主要特征之
一。雄健、刚劲、慷慨悲壮的军人气质深入到他的血液中，使他的散文有一种大气磅
礴、阳刚勃郁的“力之美”，犹如洪钟大吕。这对改变当前散文界阴柔情调有余、阳刚
风骨不足的状况有重要意义。
李存葆是个文体意识很强的作家，他对散文文体作了多方面的探索。他发挥自己的
优势进行跨体、跨文类写作，借鉴小说、诗歌、论文、报告文学、戏剧之笔法写散文，
将记叙、议论、描写、抒情、说明等表达方式融为一炉，根据需要随意取用，体现了他
驾御多种文体并融汇贯通的高超能力。他追求散文的大境界、大气象、大格局、大气
魄，高举宏大叙事旗帜，把“小我”融入“大我”之中，对抗着琐碎、平庸、追求快感
的流行文化。他以“语不惊人死不休”的执着“炼”字、“炼”句、“炼”意，用词形
象、生动、奇崛，感情色彩强烈，灵活运用排比、拟人等多种修辞手法，注意词语的灵
活转换，多采用半文半白、骄散结合的句式，长短奇偶错落，节奏和谐，形成了独具特
色、激越昂扬、充溢着“力之美”的“李存葆气势”，使文本妙语连篇、琅琅上口，属
于地道的“中国气派”，有很高的审美价值。
李存葆以他对散文的主题意蕴、文体等方面所作的拓展和探索，以他作品深广的思
想容量、文化容量和较高的审美价值在散文文坛赢得了一席之地，是当代“文化大散
文”创作的代表作家之一，是当代重要的散文作家之一。
The love for prose" was a great phenomenon in the literary circle in the 1990s and 2000s. In this period there emerged many kinds of prose and the invention of prose. Li Cunbao is one of the representatives of this trend.
The way Li Cunbao goes through is unique. He is a writer belonging to the army. In 1982 he became famous around China because of his novel The Wreath at the Foot of High Hills(Gao Shan Xia De Hua Huan). When novels were still considered as the symbol of spirit in the hearts of readers, he tried his best to write novels and won great honor. When reportage was more welcome among the readers, he wrote reportage ever happened in Yimeng area. Recently when all kinds of prose appeared in the literary world, he followed suit and began to write prose which has his own style. So he always keeps up with the times. In his prime time he changed his way, destroyed the former self and formed his new style. By doing this he went through his writing crisis and enlarged his field - from comparatively narrow politicalized writing to cultural writing. The strategic transformation showed the purity and sharpness of his mind and the versatility of his intelligence. He grasped the essence of the literature and met the challenges
and at last he was very successful. The thesis mainly analyses LiCunbao's prose from three aspects: the theme of greenness , the psychological state of the writer and his exploration of new styles. Based on these ,we discuss the contribution of his "cultural prose" to the development of contemporary prose.
While discussing the themes of his cultural prose we can see his works are mainly based on the greenness. So his prose can also be called "Green Prose". The trend and movement of caring greenness are internationally accepted in the 1990s and they will also become the hot issue of politics, culture and society in the 21st century. With his enthusiasm, his sense, his strong contemporary consciousness and his high learning Li Cunbao puts the mankind and the earth in his mind and shows his deep concern for natural environment, social environment, cultural environment and human environment from the point of view of culture and human bionomics. He criticizes the false deeds and pursues his way of saving the people by
themselves, developing the society continuously and making people living an everlasting happy life. Such is his style. He loves the nature from the bottom of his heart, and he feels angry and indignant at the destruction and atrocity done to the nature. His thought can always goes beyond the limit of time and place. He thinks wisely about the future of human beings and calls for the consciousness of human beings as a whole and the harmony and co-existence of mankind and nature. With a strong sense of social responsibility and historical responsibility Li Cunbao observes and criticizes the social environment in his whole literary life. In his opinion "all the history is contemporary", and "the present is history". With this in his mind he thinks about the significance and responsibility of the past, present and future and satirizes the ugly phenomena ruthlessly. His prose which comes from the national culture gives a deep reflection of the culture with a strong sense of modernity and criticism. Readers may feel the thought and culture in his prose. For he loves the people, he shows his deep concerns about the psychological world and humanity universe of human beings. He probes the secrets of them and advocates nobility and beauty. He worries about the biological imbalance, disintegration and even corruption of the humanity. His prose about the greenness is surely eye-catching, which also gives enlightenment of many dimensions to the prose writers and literary world.
Thinking about the writing ideas, the sympathy for the disadvantaged and the masculineness formed in the army are the important parts of his temperament. Influenced by the traditional Confucian culture, he meets the needs of the people and the times and becomes one of the writers who hold the flag of the times. Hi
革潮流蔚为大观。李存葆就是其中涌现出来的一位“文化大散文”代表作家。
李存葆的成长道路是独特的，他是一位军旅作家，1982年以一部中篇小说《高山
下的花环》而享誉神州。当小说作为精神旗帜还在读者心中飘扬之际，他攀登“高
山”，摘取“花环”，当报告文学在社会上更进一步新人耳目之际，他开掘“沂蒙”，
挥洒“九章”。近年来散文创作五花八门流光溢彩，他又进驻这一领域，开拓出他自己
的园地，可谓与时俱进。他盛年变法，毁我塑我，度过了某种创作危机，写作立场发生
了大转型——由相对较狭的政治化写作转向了文化化写作。这种战略上的转移、战术上
的挺进体现了他心灵的纯净、智能的多才多艺。他把握住文学的最本质的东西，接受新
的挑战，并取得了很大的成功。本文主要从李存葆散文的绿色母题、主体的创作心态及
其对散文文体的探索三方面来评析李存葆散文，探讨他的“文化大散文”对当代散文发
展所作的贡献。
考察李存葆散文的主题意蕴，可以发现其作品主要是围绕绿色主题而创作的，也可
被称为“绿色散文”。绿色思潮和绿色运动是20世纪末21世纪初最深入人心的全球性
运动，而且必将成为21世纪最重要的社会、政治、文化主题。李存葆凭借自己昂扬的
激情、深沉的理性、强烈的当代意识和广博的学识自觉地站在全人类、全球的高度，以
文化为立足点，以人类生态学的视角深切关注我国及全球的自然生态、社会生态、文化
生态和人性生态，针砭时弊，为人类寻求克服困境以自救的绿色道路，为我们的社会寻
求可持续发展的方式，为广大人民寻求享有真正可持续幸福的途径。他是一个拥有绿色
情怀——对人类前途、命运的“类关怀”、对自然生态、社会生态、文化生态、人性生
态的终极关怀的作家。他衷心热爱大自然，面对一切对自然生态的残害和破坏感到悲愤
难抑、椎心泣血。他总是能超越一时一事一物一国，站在全球、全人类的高度，以哲人
的清醒睿智思索人类的未来，呼唤全人类的群体意识，呼唤恢复人与自然的和谐共生局
面。作为一个社会责任感和历史使命感极强的作家，李存葆对社会生态的关注与批判是
贯穿他的文学生涯的，他以“一切历史都是当代史”和“把当下看成历史”的眼光来思
考历史、现实与未来的意义与责任，对阻碍社会进程的一切丑恶现象进行猛烈批判。文
化是李存葆散文的立足点，他根植于民族文化的土壤，以强烈的现代意识和批判意识去
发掘民族文化之魂，进行深入透彻的文化反思，让人感受到文本的思想含量和文化含
量。对人民的热爱使他十分关注人性宇宙、心灵世界，深入探求其中的奥秘，倡导崇高
和大美，对人性生态失衡、分裂乃至崩溃表现出深切忧患。
考察主体的创作心态，悲悯的入世情怀和雄健的军人气质是李存葆文化心理结构的
重要组成部分。受传统儒家文化水土的滋养，使他具有悲悯的入世情怀，成为一位“号
手型”的作家，成为文坛上最听从时代与人民命令的一员战将。他悲悯的入世情怀主要
体现在严谨的求真精神和执着的平民意识两方面。深厚的人民性是他作品的主要特征之
一。雄健、刚劲、慷慨悲壮的军人气质深入到他的血液中，使他的散文有一种大气磅
礴、阳刚勃郁的“力之美”，犹如洪钟大吕。这对改变当前散文界阴柔情调有余、阳刚
风骨不足的状况有重要意义。
李存葆是个文体意识很强的作家，他对散文文体作了多方面的探索。他发挥自己的
优势进行跨体、跨文类写作，借鉴小说、诗歌、论文、报告文学、戏剧之笔法写散文，
将记叙、议论、描写、抒情、说明等表达方式融为一炉，根据需要随意取用，体现了他
驾御多种文体并融汇贯通的高超能力。他追求散文的大境界、大气象、大格局、大气
魄，高举宏大叙事旗帜，把“小我”融入“大我”之中，对抗着琐碎、平庸、追求快感
的流行文化。他以“语不惊人死不休”的执着“炼”字、“炼”句、“炼”意，用词形
象、生动、奇崛，感情色彩强烈，灵活运用排比、拟人等多种修辞手法，注意词语的灵
活转换，多采用半文半白、骄散结合的句式，长短奇偶错落，节奏和谐，形成了独具特
色、激越昂扬、充溢着“力之美”的“李存葆气势”，使文本妙语连篇、琅琅上口，属
于地道的“中国气派”，有很高的审美价值。
李存葆以他对散文的主题意蕴、文体等方面所作的拓展和探索，以他作品深广的思
想容量、文化容量和较高的审美价值在散文文坛赢得了一席之地，是当代“文化大散
文”创作的代表作家之一，是当代重要的散文作家之一。
The love for prose" was a great phenomenon in the literary circle in the 1990s and 2000s. In this period there emerged many kinds of prose and the invention of prose. Li Cunbao is one of the representatives of this trend.
The way Li Cunbao goes through is unique. He is a writer belonging to the army. In 1982 he became famous around China because of his novel The Wreath at the Foot of High Hills(Gao Shan Xia De Hua Huan). When novels were still considered as the symbol of spirit in the hearts of readers, he tried his best to write novels and won great honor. When reportage was more welcome among the readers, he wrote reportage ever happened in Yimeng area. Recently when all kinds of prose appeared in the literary world, he followed suit and began to write prose which has his own style. So he always keeps up with the times. In his prime time he changed his way, destroyed the former self and formed his new style. By doing this he went through his writing crisis and enlarged his field - from comparatively narrow politicalized writing to cultural writing. The strategic transformation showed the purity and sharpness of his mind and the versatility of his intelligence. He grasped the essence of the literature and met the challenges
and at last he was very successful. The thesis mainly analyses LiCunbao's prose from three aspects: the theme of greenness , the psychological state of the writer and his exploration of new styles. Based on these ,we discuss the contribution of his "cultural prose" to the development of contemporary prose.
While discussing the themes of his cultural prose we can see his works are mainly based on the greenness. So his prose can also be called "Green Prose". The trend and movement of caring greenness are internationally accepted in the 1990s and they will also become the hot issue of politics, culture and society in the 21st century. With his enthusiasm, his sense, his strong contemporary consciousness and his high learning Li Cunbao puts the mankind and the earth in his mind and shows his deep concern for natural environment, social environment, cultural environment and human environment from the point of view of culture and human bionomics. He criticizes the false deeds and pursues his way of saving the people by
themselves, developing the society continuously and making people living an everlasting happy life. Such is his style. He loves the nature from the bottom of his heart, and he feels angry and indignant at the destruction and atrocity done to the nature. His thought can always goes beyond the limit of time and place. He thinks wisely about the future of human beings and calls for the consciousness of human beings as a whole and the harmony and co-existence of mankind and nature. With a strong sense of social responsibility and historical responsibility Li Cunbao observes and criticizes the social environment in his whole literary life. In his opinion "all the history is contemporary", and "the present is history". With this in his mind he thinks about the significance and responsibility of the past, present and future and satirizes the ugly phenomena ruthlessly. His prose which comes from the national culture gives a deep reflection of the culture with a strong sense of modernity and criticism. Readers may feel the thought and culture in his prose. For he loves the people, he shows his deep concerns about the psychological world and humanity universe of human beings. He probes the secrets of them and advocates nobility and beauty. He worries about the biological imbalance, disintegration and even corruption of the humanity. His prose about the greenness is surely eye-catching, which also gives enlightenment of many dimensions to the prose writers and literary world.
Thinking about the writing ideas, the sympathy for the disadvantaged and the masculineness formed in the army are the important parts of his temperament. Influenced by the traditional Confucian culture, he meets the needs of the people and the times and becomes one of the writers who hold the flag of the times. Hi
引文
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[2] 马克思，恩格斯．马克思恩格斯选集：第3卷[M]．北京：人民文学出版社，1972．
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[5] 玉宾，建忠．李银贝绘就《大槐树移民图》[N]．山西日报，2003—4—4．
[6] 雷达．李存葆散文的美学气质[N]．文艺报，2002—11—23．
[7] 朱自清．朱自清散文选集[M]．天津：百花文艺出版社，1987．
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[10] 刘红．居高声自远——访军旅作家李存葆[N]．人民日报海外版，2002—1—25．
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[16] 尤凤伟．自序[A]．尤凤伟中短篇小说[M]．青岛：青岛出版社，1988．
[17] 同[3]．
[18] 曾绍义．散文——不能缺钙[N]．文学报，1995—7—20．
[19] 刘晓伟．去媚俗矫情，还风骨大气[J]．杭州大学学报，1997(2)：112—115．
[20] 佘树森，陈旭光．中国当代散文报告文学发展史[M]．北京：北京大学出版社，1996．
[21] 秦晋．新散文现象与散文新观念[J]．文学评论，1993(1)：35—38．
[22] 别林斯基．别林斯基选集：第2卷[M]．成都：时代出版社，1953．
[23] 逢春阶．李存葆“：渴求大美[N]．曲阜师大报，2002—10—23．
[24] 李晓虹．中国当代散文审美建构[M]．深圳：海天出版社，1997．
[25] 同[24]．
[26] 余光中．剪掉散文的辫子[A]．鬼雨[M]．广州：花城出版社，1990．
[27] 李钦业．一曲美的赞歌——评李存葆大散文《飘逝的绝唱》[J]．当代文坛，2002(2)：60—62．
[28] 贾平凹．弘扬“大散文” [J]．美文，1994(9)：4—5．
[29] 同[6]．
[30] 徐怀中．虽然历史是一面镜子——读《山中，那十九座坟茔》随感[J]．文学评论，1985(2)：90—93．
[31] 朱向前．军旅散文50年述略[J]．解放军文艺，1999(11)：17—20．
[32] 同[12]．
1、李存葆《大河遗梦》北京：解放军文艺出版社，2002．
2、李存葆《高山下的花环》济南：山东人民出版社，1982．
3、李存葆《山中，那个九座坟茔》北京：昆仑出版社，1985．
4、范培松《中国散文批评史》南京：江苏教育出版社，2000．
5、曾永成《文艺的绿色之思——文艺生态学引论》北京：人民文学出版社，2000．
6、李晓虹《中国当代散文审美建构》深圳：海天出版社，1997．
7、沈义贞《中国当代散文艺术演变史》杭州：浙江大学出版社，2000．
8、王尧《乡关何处——20世纪中国散文的文化精神》北京：东方出版社，1996．
9、王景科《中国散文创作艺术论》济南：山东教育出版社，1999．
10、佘树森《散文艺术初探》福州：福建人民出版社，1984．
11、洪子诚《中国当代文学史》北京：北京大学出版社，1999．
12、佘树森，陈旭光《中国当代散文报告文学发展史》北京：北京大学出版社，1996．
13、郭预衡《中国散文史》上海：上海古籍出版社，2000．
14、林非主编《20世纪中国名家散文200篇》北京：中国广播电视出版社，1993．
15、丁尔纲主编《山东当代作家论》济南：山东教育出版社，1989．
16、刘叔成，夏之放，楼昔勇《美学基本原理》上海：上海人民出版社，2001．
17、李书磊《文学之文化含义》上海：上海远东出版社，1998．
18、许评，曹明海主编《山东当代散文作家论》济南：泰山出版社，1998．
19、贾平凹主编《散文研究》石家庄：河北大学出版社，2001．
20、王元壤《审美反映与艺术创造》杭州：杭州大学出版社，1992．
21、吴周文《散文十二家》北京：人民文学出版社，1992．
22、佘树森《中国现当代散文研究》北京：北京大学出版社，1993．
23、许评，耿立《新艺术散文概论》济南：山东教育出版社，1997．
24、钱理群等《现代文学三十年》北京：北京大学出版社，1998．
[2] 马克思，恩格斯．马克思恩格斯选集：第3卷[M]．北京：人民文学出版社，1972．
[3] [法]泰纳．艺术哲学[M]．北京：人民文学出版社，1963．
[4] 李存葆．在变化中寻找自己[J]．解放军文艺，1986(2)：106—109．
[5] 玉宾，建忠．李银贝绘就《大槐树移民图》[N]．山西日报，2003—4—4．
[6] 雷达．李存葆散文的美学气质[N]．文艺报，2002—11—23．
[7] 朱自清．朱自清散文选集[M]．天津：百花文艺出版社，1987．
[8] 杨政．齐鲁文化对当代山东作家的人格影响[A]．当代文学40年[M]．济南：山东大学出版社，1981．
[9] 崔道怡．豪情妙理，大气良知[N]．文艺报，2002—11—23．
[10] 刘红．居高声自远——访军旅作家李存葆[N]．人民日报海外版，2002—1—25．
[11] 鲁迅．论睁了眼看[A]．坟·鲁迅全集：第1卷[M]．北京：人民文学出版社，1981．
[12] 鲁迅．怎么写[A]．三闲集·鲁讯全集：第4卷[M]．北京：人民文学出版社，1981．
[13] 巴金．合订本新记[A]．随想录[M]．北京：生活·读书·新知三联书店，1987．
[14] 古耜．当今散文问题多[N]．文艺报，2001—8—18．
[15] 于晴．大地之子的讴歌——《山中，那十九座坟莹》读后感[J]．昆仑，1985(1)：16—19．
[16] 尤凤伟．自序[A]．尤凤伟中短篇小说[M]．青岛：青岛出版社，1988．
[17] 同[3]．
[18] 曾绍义．散文——不能缺钙[N]．文学报，1995—7—20．
[19] 刘晓伟．去媚俗矫情，还风骨大气[J]．杭州大学学报，1997(2)：112—115．
[20] 佘树森，陈旭光．中国当代散文报告文学发展史[M]．北京：北京大学出版社，1996．
[21] 秦晋．新散文现象与散文新观念[J]．文学评论，1993(1)：35—38．
[22] 别林斯基．别林斯基选集：第2卷[M]．成都：时代出版社，1953．
[23] 逢春阶．李存葆“：渴求大美[N]．曲阜师大报，2002—10—23．
[24] 李晓虹．中国当代散文审美建构[M]．深圳：海天出版社，1997．
[25] 同[24]．
[26] 余光中．剪掉散文的辫子[A]．鬼雨[M]．广州：花城出版社，1990．
[27] 李钦业．一曲美的赞歌——评李存葆大散文《飘逝的绝唱》[J]．当代文坛，2002(2)：60—62．
[28] 贾平凹．弘扬“大散文” [J]．美文，1994(9)：4—5．
[29] 同[6]．
[30] 徐怀中．虽然历史是一面镜子——读《山中，那十九座坟茔》随感[J]．文学评论，1985(2)：90—93．
[31] 朱向前．军旅散文50年述略[J]．解放军文艺，1999(11)：17—20．
[32] 同[12]．
1、李存葆《大河遗梦》北京：解放军文艺出版社，2002．
2、李存葆《高山下的花环》济南：山东人民出版社，1982．
3、李存葆《山中，那个九座坟茔》北京：昆仑出版社，1985．
4、范培松《中国散文批评史》南京：江苏教育出版社，2000．
5、曾永成《文艺的绿色之思——文艺生态学引论》北京：人民文学出版社，2000．
6、李晓虹《中国当代散文审美建构》深圳：海天出版社，1997．
7、沈义贞《中国当代散文艺术演变史》杭州：浙江大学出版社，2000．
8、王尧《乡关何处——20世纪中国散文的文化精神》北京：东方出版社，1996．
9、王景科《中国散文创作艺术论》济南：山东教育出版社，1999．
10、佘树森《散文艺术初探》福州：福建人民出版社，1984．
11、洪子诚《中国当代文学史》北京：北京大学出版社，1999．
12、佘树森，陈旭光《中国当代散文报告文学发展史》北京：北京大学出版社，1996．
13、郭预衡《中国散文史》上海：上海古籍出版社，2000．
14、林非主编《20世纪中国名家散文200篇》北京：中国广播电视出版社，1993．
15、丁尔纲主编《山东当代作家论》济南：山东教育出版社，1989．
16、刘叔成，夏之放，楼昔勇《美学基本原理》上海：上海人民出版社，2001．
17、李书磊《文学之文化含义》上海：上海远东出版社，1998．
18、许评，曹明海主编《山东当代散文作家论》济南：泰山出版社，1998．
19、贾平凹主编《散文研究》石家庄：河北大学出版社，2001．
20、王元壤《审美反映与艺术创造》杭州：杭州大学出版社，1992．
21、吴周文《散文十二家》北京：人民文学出版社，1992．
22、佘树森《中国现当代散文研究》北京：北京大学出版社，1993．
23、许评，耿立《新艺术散文概论》济南：山东教育出版社，1997．
24、钱理群等《现代文学三十年》北京：北京大学出版社，1998．