从唐诗看古代诗歌的“无我”创作范式

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文艺理论研究 ›› 2017, Vol. 37 ›› Issue (1) : 78-88.

古代文论与古代文学的理论研究

从唐诗看古代诗歌的“无我”创作范式

姜玉琴

作者信息 +

The Paradigm of "Ego Absent" in Classical Chinese Poem Writing: A Case Study of Tang Poems

Jiang Yuqin

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文章历史 +

摘要

人们一向认为古代诗歌除了在形式上有所讲究之外，是不甚讲究其内在创作审美规则的。或者更确切地说，这种规则似乎潜移默化地存在于历代的诗歌创作中，可一时又觉得很难从中总结、提炼出来。本文通过对唐诗文本的考察，加之参考历代诗学家对唐代诗歌的认识与总结，认为以唐诗为代表的古代诗歌中的确存在有一个创作范式。这个范式大致可以命名为以“景”喻“情”的“无我”范式。把“我”隐喻到“景”中的创作范式出现在古诗中绝非偶然，它与古人那博大而雄浑的宇宙意识紧密相关。

Abstract

It is usually believed that in classical Chinese poem writing, except on the form, there is little emphasis on internal aesthetic rules. Or rather, such rules are invisibly there, but simply defy any expedient attempt at summarization or generalization. Based on a textual examination of Tang poems and on critics' diachronic observations about Tang poetry, the paper contends that in classical Chinese poem writing, there does exist an aesthetic rule which can be termed the paradigm of "ego absent" characterized by the representation of scenery as a metaphorical expression of feelings and emotions. The emergence of the scenery-as-feelings/emotions paradigm in classical Chinese poetry is closely associated with the profound Chinese cosmology of in ancient times.

导出引用

姜玉琴. 从唐诗看古代诗歌的“无我”创作范式[J]. 文艺理论研究, 2017, 37(1): 78-88

Jiang Yuqin. The Paradigm of "Ego Absent" in Classical Chinese Poem Writing: A Case Study of Tang Poems[J]. Theoretical Studies in Literature and Art, 2017, 37(1): 78-88

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(1)相对于“诗”而言,人们一直都认为“词”更是言“情”的。诗言志,词言情,说的就是它们的分工。这就意味着诗人在创作词时,所投入的个人情感是要远远大于词的。因此说,探讨“无我”的问题,词不是最佳的文本。