论文部分内容阅读
六朝时期,中国文学理论在保持着传统的泛文学概念的同时,以前所未有的热情,在文学的情感美和形式美两个重要方面取得了重大突破,为中国美学以“情”为美和以“文”为美思想的形成奠定了坚实的基础。而刘勰的《文心雕龙》恰恰是六朝时期中国文论的这三大特色的鲜活例证。在“文”的“交文”、“错画”的训诂学意义的指导下,刘勰的文学观念从广义走向狭义、从泛文学走向审美的文学,并对文学的情感美和形式美作出了高度评价、丰富的探讨和细致深入的分析,达到了六朝文论以“情”为美和以“文”为美思想的最高峰。置于今天的世界文艺美学格局中来看,刘勰文论以“情”为美和以“文”为美的思想是最具现代意义的宝贵理论资源,值得我们好好挖掘和借鉴。
In the period of the Six Dynasties, Chinese literary theory has made great breakthrough in the two important aspects of the emotional beauty and the formal beauty of literature with the unprecedented enthusiasm while maintaining the traditional concept of pan-language literature. For the Chinese aesthetics, “love” is beauty and “ ”It laid a solid foundation for the formation of the ideology of beauty. Liu Xie’s “Wen Xin Diao Long” is just a vivid illustration of these three major features of Chinese literary theory during the Six Dynasties period. Under the guidance of the doctrine of “intercourse” and “wrong painting” in “Wen”, Liu Xie’s literary concept went from broad to narrow, from pan-literary to aesthetic literature, and made a height of emotional beauty and formal beauty of literature Evaluation, rich discussion and meticulous in-depth analysis reached the peak of the Six Dynasties Literary Theory with “love” as beauty and “writing” as beauty. Placed in today’s world pattern of literary and art aesthetics, Liu Xie’s theory of “beauty” and “beauty” is the most valuable theoretical resource of modern significance and deserves our good digging and drawing lessons.