简论中国古典诗词中的艺术辩证法
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摘要
中国传统的思维方式是一种重和谐、求统一的朴素辩证思维，中国古人把一切事物都看成是既包含矛盾对立又和谐统一的整体。因此，在中国的古典诗词中存在着许多对立而统一的艺术辩证法，如动与静、虚与实、美与丑、刚与柔、隐与显、疏与密等等。本文从四个方面进行了论述：(一)动与静：动与静的辩证法在各种类型的艺术中都有体现，在诗词中，动与静的辩证关系有三种情况，一是以动写静；二是化静为动；三是化美为媚。总体说来，动而流，美而媚是我们寻求诗的动静美的重要途径。(二)虚与实：由于中国古典诗词十分注重“意境”，因而中国古典诗词十分讲求虚实相生，通过一虚一实，一隐一显，相互作用来拓展诗词的审美空间。因此，我们在对中国古典诗词进行鉴赏的过程中，应充分注重对诗词所传递出的直接信息和潜在信息进行整体接受。(三)美与丑：美与丑是一对对立统一的概念，两者是相互依存、相互转化的。在中国古典诗词中，表现美丑这一对对立统一的概念时，大体上有三种情况，一是化丑为美；二是以美写丑；三是以丑为美。但最终美丑这一对对立统一的概念仍将统一在“美”上。(四)刚与柔：具体的文学作品都讲求刚柔相济，刚与柔相对立而不排斥。在诗词中，有时会“摧刚为柔”；有时会“以健笔写柔情”，但不管怎样，刚与柔都是美。但中国的阳刚之美与西方的崇高是有区别的。总之，在中国的古典诗词中存在着许多对立而统一的因素，这些因素之间相互依存、相互转化并互为统一，因而我们在对中国古典诗词进行审美鉴赏的过程中，应综合把握诗词的美学意蕴，挖掘出诗词所具有的全部审美信息，全面把握诗词美的真谛。
Traditional Chinese mode of thinking belongs to plain dialectics which puts emphasis on harmoniousness and unity. Chinese ancients regarded all things as one unity containing contradictory opposites and harmonious agreement. Therefore in classical Chinese poetry there exists corresponding artistic dialectics, such as the dialectical unity of active and still, visionary and real, beautiful and ugly, firm and gertle, hidden and revealing, sparse and dense etc.
This paper will take up the following four aspects one by one.
I:the dialectical unity of active and still.
This is reflected in various art forms. In classical Chinese poetry there are three writing techniques. One is using the achieve to set off the still, another is turning the still into the active , the third is converting the beautiful to Charming. So achieving the results of active and fluent, beautiful and charming is the important way we aim for the unity of active and still of Chinese poetry. II: the dialectical unity of visionary and real.
Classical Chinese poetry pays much attention to the mood of art. And it emphasizes on mingling the visionary with the real, the hidden and the revealing to develop the aesthetic conception of poetry, we should specially notice the unity of the direct and indirect messages conveyed by the lines when we appreciate the poetry.
III: the dialectical unity of beautiful and ugly.
The concept of beautiful and ugly is unity of opposites. They are interdependent and interchangeable. They are reflected in Chinese poetry in three aspects. One is turning the ugly into beauty, another is using beauty to set off the ugly, the third is regarding the ugly as beauty. No matter what technique we use, the emphasis of this pair of concepts still lies in beauty.
IV: the dialectical unity of firm and gentle.
This can also be found in many literary works. In classical Chinese poetry the concept of firm and gentle can be interchanged, and the gentle is often described with firm writing techniques, They are opposite but do not repel each other for both
of them belong to the concept of beauty.
In conclusion, these factors in classical Chinese poetry are interdependent, interchangeable and in a harmonious unity. When we appreciate Chinese poetry we should grasp the inner aesthetic meaning, seek the inside aesthetic message and explore the true essence of sensuous poetry.
Traditional Chinese mode of thinking belongs to plain dialectics which puts emphasis on harmoniousness and unity. Chinese ancients regarded all things as one unity containing contradictory opposites and harmonious agreement. Therefore in classical Chinese poetry there exists corresponding artistic dialectics, such as the dialectical unity of active and still, visionary and real, beautiful and ugly, firm and gertle, hidden and revealing, sparse and dense etc.
This paper will take up the following four aspects one by one.
I:the dialectical unity of active and still.
This is reflected in various art forms. In classical Chinese poetry there are three writing techniques. One is using the achieve to set off the still, another is turning the still into the active , the third is converting the beautiful to Charming. So achieving the results of active and fluent, beautiful and charming is the important way we aim for the unity of active and still of Chinese poetry. II: the dialectical unity of visionary and real.
Classical Chinese poetry pays much attention to the mood of art. And it emphasizes on mingling the visionary with the real, the hidden and the revealing to develop the aesthetic conception of poetry, we should specially notice the unity of the direct and indirect messages conveyed by the lines when we appreciate the poetry.
III: the dialectical unity of beautiful and ugly.
The concept of beautiful and ugly is unity of opposites. They are interdependent and interchangeable. They are reflected in Chinese poetry in three aspects. One is turning the ugly into beauty, another is using beauty to set off the ugly, the third is regarding the ugly as beauty. No matter what technique we use, the emphasis of this pair of concepts still lies in beauty.
IV: the dialectical unity of firm and gentle.
This can also be found in many literary works. In classical Chinese poetry the concept of firm and gentle can be interchanged, and the gentle is often described with firm writing techniques, They are opposite but do not repel each other for both
of them belong to the concept of beauty.
In conclusion, these factors in classical Chinese poetry are interdependent, interchangeable and in a harmonious unity. When we appreciate Chinese poetry we should grasp the inner aesthetic meaning, seek the inside aesthetic message and explore the true essence of sensuous poetry.
引文
1．艾治平．《诗美思辨》．学林出版社．1994版
2．刘叔成等．《美学基本原理》．上海人民出版社．1995版
3．孙子威．《文学原理》．华中师范大学出版社．1989版
4．冯友兰．《中国哲学史新编》．人民出版社．2001版
5．邓乔彬．《古代文艺的文化观照》．上海教育出版社．2003版
6．杜道明．《中国古代审美文化考论》．文苑出版社．2003版
7．张皓．《中国传统美学范畴与传统文化》．湖北教育出版社．1996版
8．谢文利．《诗歌美学》．中国青年出版社．1989版
9．周来祥．《再论美是和谐》．广西师范大学出版社．1996版
10．蒋寅．《古典诗学的现代诠释》．中华书局．2003版
11．H·R·姚斯、R·C·霍拉勃．《接受美学与接受理论》．辽宁人民出版社．1987
12．刘乃昌．《宋词三百首评注》．齐鲁书社．2003版
13．万云骏．《诗词曲欣赏论稿》．中国社会科学出版社．1986版
14．李衍柱、朱恩彬．《文学理论简明辞典》．山东教育出版社．1987版
15．郁沅．《文学审美意识论稿》．中国广播电视出版社．1992版
16．复旦大学古典文学教研组．《李白诗选》．人民文学出版社．1983版
17．黄寿祺、张善文．《周易译注》．上海古籍出版社．1990版
18．金性尧．《唐诗三百首新注》．上海古籍出版社．1988版
19．姜剑云．《太康文学研究》．中华书局．2003版
20．孙以楷．《老子百问》．安徽人民出版社．1992版
1．范伟军．《中国古典诗歌意境“空白”》论．《安徽师范大学学报》2002年第4期
2．许山河．《表里相形 虚实相生——诗歌审美信息略论》．《海南师范学院学报》2003年第5期
3．戴建平．《葛洪自然观再探》．《淮阴师范学院学报》．2002年第三期
4．杨艳梅．《论宋词意象的文化品格》．《吉林师范大学学报》．2003年第一期
5．于永顺、刘雪清．《情感——审美想象的动力》．《沈阳师范大学学报》．2003年第五期
6．张蓉．《含意——句子的语用层面》．《沈阳师范大学学报》．2002年第三期
7．任瑞冲．《论王维(鸟鸣涧)诗中的禅意》．《华南农业大学学报》．2003年第一期
2．刘叔成等．《美学基本原理》．上海人民出版社．1995版
3．孙子威．《文学原理》．华中师范大学出版社．1989版
4．冯友兰．《中国哲学史新编》．人民出版社．2001版
5．邓乔彬．《古代文艺的文化观照》．上海教育出版社．2003版
6．杜道明．《中国古代审美文化考论》．文苑出版社．2003版
7．张皓．《中国传统美学范畴与传统文化》．湖北教育出版社．1996版
8．谢文利．《诗歌美学》．中国青年出版社．1989版
9．周来祥．《再论美是和谐》．广西师范大学出版社．1996版
10．蒋寅．《古典诗学的现代诠释》．中华书局．2003版
11．H·R·姚斯、R·C·霍拉勃．《接受美学与接受理论》．辽宁人民出版社．1987
12．刘乃昌．《宋词三百首评注》．齐鲁书社．2003版
13．万云骏．《诗词曲欣赏论稿》．中国社会科学出版社．1986版
14．李衍柱、朱恩彬．《文学理论简明辞典》．山东教育出版社．1987版
15．郁沅．《文学审美意识论稿》．中国广播电视出版社．1992版
16．复旦大学古典文学教研组．《李白诗选》．人民文学出版社．1983版
17．黄寿祺、张善文．《周易译注》．上海古籍出版社．1990版
18．金性尧．《唐诗三百首新注》．上海古籍出版社．1988版
19．姜剑云．《太康文学研究》．中华书局．2003版
20．孙以楷．《老子百问》．安徽人民出版社．1992版
1．范伟军．《中国古典诗歌意境“空白”》论．《安徽师范大学学报》2002年第4期
2．许山河．《表里相形 虚实相生——诗歌审美信息略论》．《海南师范学院学报》2003年第5期
3．戴建平．《葛洪自然观再探》．《淮阴师范学院学报》．2002年第三期
4．杨艳梅．《论宋词意象的文化品格》．《吉林师范大学学报》．2003年第一期
5．于永顺、刘雪清．《情感——审美想象的动力》．《沈阳师范大学学报》．2003年第五期
6．张蓉．《含意——句子的语用层面》．《沈阳师范大学学报》．2002年第三期
7．任瑞冲．《论王维(鸟鸣涧)诗中的禅意》．《华南农业大学学报》．2003年第一期