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“空”是中国古典美学中的一个重要概念,其美学旨趣广泛存在于在各门类艺术中:在建筑美学中呈现为庭院、栏杆、戏台的空间设置;在绘画中表现为留白、萧疏;而在古典诗词里,于描物绘景中有疏淡、空灵之笔,于叙事言情里有缺略逸发之联想,于托志造境上则有超事与超世之高妙。本文从“空”审美内涵出发,沿中国古典诗学发展的基本脉络,分景空、事空、境空三个层次,探讨中国古典诗词视域下“空”审美类型、审美体现、审美价值等问题。
“Empty ” is an important concept in Chinese classical aesthetics. Its aesthetical interest exists widely in various kinds of art: in the architectural aesthetics, it presents the space setting of the courtyard, railings and the stage; in the painting, Xiao Shu; while in classical poetry, there is a light, ethereal pen in depicting scenery, but there is a miss in the narrative romance. Based on the aesthetic connotation of “empty ”, this essay explores the aesthetic category of “empty ” in the perspective of Chinese classical poetry from the basic vein of development of Chinese classical poetics, Reflect, aesthetic value and other issues.