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传统诗学理论告诉我们,诗歌创作依赖于非人类世界的自然万物。当诗人面对丰富而厚重的历史物象时,他的审美思维、历史经验、生命感悟自然会与物象之间产生交融,诗歌便会自然而然地产生。在这个过程中,诗人与物象的存在之境(文化语境与物象世界)既是一种生命的共存关系,又是一种多维的交错空间。在某种意义上,物象就是诗人思维的一种显现,诗人也是物象的一种生命依托。因此,在不同的文化语境中,物象会被赋予不同的历史记忆和现世价
Traditional poetic theory tells us that poetry creation depends on the natural things in the non-human world. When the poet is faced with rich and heavy historical objects, his aesthetic thinking, historical experience and life perception will naturally blend with the objects, and poetry will naturally emerge. In this process, the existential environment (cultural context and material world) of poets and objects is not only a kind of living co-existence relationship but also a multi-dimensional interlacing space. In a sense, the image is a manifestation of the poet’s thinking, and the poet is also a kind of life support of the image. Therefore, in different cultural contexts, objects are given different historical memories and present-day prices