摘要
魏晋玄学与魏晋山水审美的联姻主要是通过三种途径完成的,具体到谢灵运来讲,他的山水审美则主要是从把山水之爱当作人的本能需求的角度切入的。由于把人的山水之爱归结为人的生命本性对自然美本身的本能追寻,而并不像有的士人那样,只将山水视为某种哲理或某种生命境界的展现,如此就使谢灵运的山水审美在形式上发生了重大改变:一是一改对景物静观默照式的悟赏,而为兴味盎然,近似疯狂的遨游;二是在山水诗创作中对山水美本身有了更多的关注。谢灵运山水审美机制的改变与魏晋玄学对人性至善的积极肯定密切相联系,所以,我们认为他的诗歌总有一个玄言尾巴,主要是由于对于他的山水审美切入方式发生误读造成的。
The relation＇ s establishment between Weijin＇ s metaphysics and the aesthetics of landscape was mainly through three ways, but for Xie Lingyun, it based on the idea that the love of landscape is people＇ s appetence and not that landscape shows some philosophy or life experience, so it made Xie Iingyun＇ s aesthetical practice of landscape a big change ： one was to change apperception in position view to interested roam and the other was to pay more attention to the beauty of landscape itself in his poems. Xie Lingyun＇ s transformation in the aesthetical mechanism of landscape is associated very much with the metaphysics scholar＇ s ideal that human nature is holy, and main reason why we often think his poems have a metaphysical tail is that we do not realize this mechanism.
出处
《南昌大学学报（人文社会科学版）》
北大核心
2008年第6期92-97,共6页
Journal of Nanchang University(Humanities and Social Sciences)
关键词
谢灵运
山水诗
山水审美
玄言尾巴
Xie Lingyun
landscape poems
the aesthetics of landscape
metaphysical tail
