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“广远”和“精微”可以视为中国诗学中一对互补的命题。所谓“广远” ,指诗歌境界远远大于本文的空间与时间上的气势与张力 ;“精微”则是诗歌文本中的精深微致之笔。广远与精微是诗歌意境具有普遍意义的两极。无广远之势 ,诗则局促狭隘 ,缺少张力 ;无精微之笔 ,诗则廓落板滞 ,缺少神采。精微之笔 ,虽是对描写对象特征的细微刻划 ,却非纯客观的摹写 ,而是审美主体和客观之间“物化”的产物。“广远”之势与“精微”之笔 ,都是与宇宙造化息息相通的。“物化”的主体灵性与对象的物性的互化 ,不仅仅是一对一的交融 ,而且从根本上是人与天地万物融为一体 ,“广远”与“精微” ,都是与“物化”密切联系的
“Guangyuan” and “subtlety” can be regarded as a pair of complementary propositions in Chinese poetics. The so-called “far-reaching” refers to the poetic realm far outweighs the momentum and tension in space and time of this article; “subtlety” is the profound and delicate touch in poetry texts. Broad and subtle are the poles of universal significance of poetic mood. There is no far-reaching potential, poetry is cramped, lack of tension; no subtle pen, poetry is the outline of the board, lack of demeanor. The subtle pen, though a subtle depiction of the characteristics of the object of description, is not a purely objective depiction, but a product of “materialization” between the aesthetic subject and the objective. The trend of “far-reaching” and “subtle” are all interlinked with cosmology. The mutualistic nature of the subject’s spirituality of “materialization” and the object’s physical property is not merely a one-to-one blend, but also fundamentally integrates everything with mankind and heaven and earth. Both “far-reaching” and “subtle” are all associated with “materialization” Closely linked