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两宋时期理学思想家留下了许多别致的诗、词、赋、铭等作品,这些诗文余音绕梁、字字珠玑,或借喻、或如风与水一般亦真亦幻的存在,跃动在诸位理学诗人的笔端。宋代文人有着以理入诗的倾向,这些山水花鸟、田园草木多表现、包含、暗示着他们所崇尚的风操与品格。实际上,宋代理学家将此精神寄托视为景物的灵魂,这正延续了春秋时期孔子的“君子比德”思想。春风秋露中的神韵便是理学家理想品德、理想境界和理想人格的写照,在写景状物的同时倾诉他们自己的情怀。
Neo-Confucianism thinkers in the two Song Dynasties left many works of chic poetry, Ci, Fu, Ming, etc. These poetic works are well known by their persuasive remarks, The end of the Neo-Confucian poet. The Song dynasty scholars had the tendency to study poetry. These landscapes, flowers and birds, pastoral vegetation and many other manifestations contain and imply the style and character they advocate. In fact, the Song Dynasty Neo-Confucianism regarded this spiritual sustenance as the soul of the scenery, which is continuing the Confucius thought of “Gentleman” in the Spring and Autumn Period. The charm of Spring Autumn is the portrayal of Neo-Confucianists’ ideal moral character, ideal state and ideal personality. They also talk about their own feelings while writing scenery.