摘要
在中国文艺美学发展史上,刘勰是将雅与俗作为审美范畴,并从理论上进行全面论述的重要人物。他在《文心雕龙》中着重推崇尚雅崇雅的审美观念,从雅俗比较和变化中看待文学审美现象,标举“圣文之雅丽”,强调文艺创作必须内容与形式完美统一,指出文艺创作主体应注重品德修养,必须“儒雅”与“文雅”,提倡“括乎雅俗之际”,隆雅轻俗,并且具体论述一系列雅俗审美命题,如“典雅”、“温雅”、“和雅”,常常“振叶以寻根,观澜以索源”,把《诗经》中来自民间、化俗为雅的诗作的审美经验作为论述的基础。
In the history of Chinese art and literature aesthetics, Liu Xie is an important figure of making the Ya and Su theory in the field of aesthetic category, and giving it an comprehensive explanation. He attaches great weight to aesthetic view of worshiping and upholding Ya, from comparision and change of Ya and Su to the literary aesthetics phenomenon, he praises Ya's beauty of sacred literary, stresses literary and he thinks that artistic creators must concern their own cultivation.
出处
《华中师范大学学报（人文社会科学版）》
CSSCI
北大核心
2005年第2期110-115,共6页
Journal of Central China Normal University:Humanities and Social Sciences
关键词
雅俗之争
尚雅崇雅
“圣文之雅丽”
“櫽括乎雅俗之际”
化俗为雅
argument of Ya and Su
worship and uphold Ya
Ya's beauty of sacred literary
give consideration to Ya and Su
turn Su into Ya
